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THE 

CURTIS 
INSTITUTE 

OF 

MUSIC 



PHILADELPHIA 



3 9 5 1 • 19 5 2 




THE 
CURTIS INSTITUTE OF MUSIC 




CATALOGUE 

1951-1952 



RITTENHOUSE SQUARE 
PHILADELPHIA 3 • PENNSYLVANIA 



COPYRIGHT 1951, BY 
THE CURTIS INSTITUTE OP MUSIC 




EFREM ZIMBALIST, Director 



THE CURTIS INSTITUTE OF MUSIC 

Efrem Zimbalist, Director 



THE CURTIS INSTITUTE OF MUSIC was founded in 1924 
by Mary Louise Curtis Bok 



To hand down through contemporary masters 
the great traditions of the past 

To teach students to build on this heritage 
for the future 



The School is operated under a Charter granted by the Common- 
wealth of Pennsylvania and is included in the list of "Colleges and 
Universities in Pennsylvania approved by the State Council of 
Education for the Granting of Degrees". 

The United States Government has duly approved The Curtis 
Institute of Music as an institution of learning for immigrant 
students, in accordance with the Immigration Act of 1924. 

Students are accepted under the conditions herein set forth, on the 
scholarship basis exclusively, and pay no tuition fees. 



THE CURTIS INSTITUTE OF MUSIC 



OFFICERS 

President 
Mary Curtis Zimbalist 

Vice-President 
Curtis Bok 

Secretary 
Cary W. Bok 

Treasurer and Assistant Secretary 
Jay H. Mattis 



BOARD OF DIRECTORS 



Mary Curtis Zimbalist 
Curtis Bok 
Cary W. Bok 
Efrem Zimbalist 



Helene Boericke Bok 
Edith Evans Braun 
George P. Orr 
Jay H. Mattis 



EXECUTIVE AND ADMINISTRATIVE STAFF 

Efrem Zimbalist Director 

Jay H. Mattis Business Manager 

Jane Fairfax Hill Registrar 

Helen Hoopes Secretary of Admissions 

Elizabeth R. Hartman Librarian 

Margaret H. Burns Secretary to the President 

Ethel Kingsley Nice Secretary to the Director 

Maud Louise Lytle Secretary to the Business Manager 



FACULTY 

Headings in CAPITALS designate major courses; headings in italics, supplementary courses. 



Richard Bonelli 



VOICE 



Eufemia Giannini Gregory 



Vocal Reperfoire 

Leo Rosenek 

Vladimir SokolofF 

Opera Department 

Herbert Graf, Director 

Elizabeth Westmoreland, Music Director 

PIANO 

Rudolf Serkin Isabelle Vengerova 

Mieczyslaw Horszowski 



Vladimir SokolofF 
Eleanor SokolofF 



Piano 



Martha Halbwachs Massena 
Freda Pastor 



ORGAN 

Alexander McCurdy 



HARP and Harp Ensemble 
Carlos Salzedo 



FACULTY — Continued 



Ivan Galamian 



Leonard Rose 



VIOLIN 
Efrem Zimbalist 



VIOLA and Chamber Music 
Karen Tuttle 

VIOLONCELLO 



Woodwind and String Ensembles 
Marcel Tabuteau 

Brass Ensemble 
Charles GusikofF 

ORCHESTRA 
Alexander Hilsberg, Conductor 



Veda Reynolds 



Erling Bengtsson 



FLUTE 
William Kincaid 

CLARINET 
Anthony Gigliotti 

HORN 

Mason Jones 

TRUMPET 
Samuel Krauss 



OBOE 

Marcel Tabuteau 

BASSOON 
Sol Schoenbach 

DOUBLE BASS 
Roger Scott 

TROMBONE, TUBA 
Charles GusikofF 



PERCUSSION 
David Grupp 



Vladimir SokolofF 



ACCOMPANISTS 

Martha Halbwachs Massena 



FACULTY — Continued 



Orchestration 
Gian-Carlo Menotti 



COMPOSITION 
Gian-Carlo Menotti 



Elements of Music 
Edith Evans Braun 



Constant Vauclain 

Solfege 
Anne-Marie Soffray 



Counterpoint, Harmony 
Form and Analysis 



George Rochberg 

Dramatic Forms 
Gian-Carlo Menotti 



Eurhythmies 
Nadia Chilkovsky 



Languages and Diction 

Robert Gerson, A.M., Mus.M., Ph.D.: English Diction 

Mary Q. Shumway, A.M., Ph.D.: German 

Louise Andr6 Tabuteau, B. es L., L. es L.: French 

Domenico Vittorini, A.M., D. in L. : Italian 

Eufemia Giannini Gregory: Italian Diction 



MINIMUM COURSE REQUIREMENTS 

(Entrance Requirements, pages 15-19) 

All students are on probation during their entire period of enrolment, 
and may be dropped at any time for failure to progress according 
to the standards of the Faculty. 

For the Diploma 

The Diploma is given at the completion of three or more years 
of study in any major course. The candidate must have main- 
tained a high standard of excellence during the entire period 
both in his major and in his supplementary courses. 

The prescribed minimum work to be covered in Theory and sup- 
plementary applied subjects is outlined on the following pages. 

For the Degree Bachelor of Music 
Prerequisite: Completion of 16 units of the required high school 
subjects as outlined by the Department of Public Instruction, 
Harrisburg, Pennsylvania. 

The degree is given at the completion of not less than four years 
of study in any major course, with a total of 120 Semester Hours, 
of which 60 are to be in Applied Music including the major, 
30 in Theory, and 30 in academic work. The candidate must have 
maintained a high standard of excellence during the entire period 
both in his major and in his supplementary courses. 

The prescribed minimum work to be covered in Theory and sup- 
plementary applied subjects is outlined on the following pages. 
Credit will be given for academic subjects of college grade taken, 
before acceptance or during the period of enrolment, at an 
accredited college or university. 

For the Degree Master of Music 
(Given only in Composition) 

Prerequisite: Completion of 120 Semester Hours in the required 
courses admitting to the Bachelor of Music degree in Composi- 
tion, according to the standards of The Curtis Institute of Music. 

The degree is given at the completion of not less than two years 
of graduate study in Composition, and such additional work as 
may be prescribed, with a total of 30 Semester Hours. 



10 



MINIMUM COURSE REQUIREMENTS, ConttTlUed 



The Thesis may consist of an extended original composition for 
full orchestra or for chorus and orchestra. 



Su-p-plementary Theoretical Courses 
(Major courses in Capitals) 

All courses in Theory may be anticipated by examination. 

For the Diploma 

/ Solfege* 

Voice < Harmony : 1 year 

( Elements of Music: 1 year 

Piano > 

Organ I i Solfege* 

Harp ' j Harmony and Counterpoint: 

Violin M 2 years 

Viola 1 ' Elements of Music : 1 year 

Violoncello / 

Double Bass 

Flute 

Oboe 

Clarinet 

Bassoon If Solfege* 

Horn / I Harmony : 1 year 

Trumpet 

Trombone 

Tuba 

Percussion 

Composition See Note 2 

For the Degree Bachelor of Music 

Voice 

Piano 

Organ 

Harp 

Violin 

Viola 

Violoncello | / Solfege* 

Double Bass \ \ Harmony and Counterpoint: 

Flute >s 2 years 

Oboe /I Form and Analysis : 1 year 

Clarinet I ^ Elements of Music : 2 years 

Bassoon 

Horn 

Trumpet 

Trombone 

Tuba 

Percussion 

Composition See Note 2 

*The number of years varies according to requirements. 



11 



MINIMUM COURSE REQUIREMENTS, Continued 

Supplementary Applied Subjects 
(Major courses in Capitals) 

The following are required both in courses admitting to the 
Diploma and courses admitting to the Bachelor of Music degree, 
and are taken, except as indicated, throughout the entire period. 

Supplementary Piano may be anticipated by examination. 



Piano: 2 years 
Diction 

YoiCB ) Vocal Repertoire 

Languages 
Opera Class 
Eurhythmies 



Piano Chamber Music 



Organ Piano 



Piano: 2 years 

Harp I Harp Ensemble 

Orchestra 



{ Pi: 
\ Ha 
(Or 



{Piano: 2 years 
Viola: 1 year 
Chamber Music 
String Ensemble 
Orchestra 



•r^^ , / Piano: 2 years 

);^°^ M Chamber Music 

VioLONCELu> W String Ensemble 

Double Bass ) ( Orchfstra 



Flute 

Oboe / / Piano: 2 years 

Clarinet >< Woodwind Ensemble 

Bassoon \ ( Orchestra 

Horn , 



12 



;!{ 



MINIMUM COURSE REQUIREMENTS, Continued 

'{ 



l^^^^-^ I ( Piano: 2 years 

?°^^°^^ \{ Brass Ensemble 

J"^^ \\ Orchestra 

Percussion 



Composition Piano : 2 years 

Note 1. The Elements of Music course includes Acoustics, Theory of Harmony, Theory 
of Rhythm, Form, the Greek System, the Modal System, the Constitution of Polyphonic 
Forms, the Rise of Opera and Oratorio, the Flemish Schools, the Italian Schools, the 
German Schools. 

Note 2. The requirements in Composition are Elements of Music, Orchestration, and 
Dramatic Forms, and the courses are not considered supplementary but component 
parts of the major course. 

Note 3. The course in Dramatic Forms includes a brief history of dramatic music (opera, 
oratorio); methods of musical dramatic expression (librettos, staging, recitatives, etc.); 
the analysis of representative operatic works; experiments in the setting of dramatic texts. 

Note 4. Public performance, and performance in Curtis Hall, are credited toward 
graduation. Students majoring in Composition receive credit for public or Curtis Hall 
performance, whether by themselves or by others, of their compositions. Students are 
permitted to accept professional engagements, with the approval of the Director. 

Note 5. Attendance is required at all recitals given in Curtis Hall. 



13 



GENERAL INFORMATION 

Students are accepted on the Scholarship basis exclusively, and 
pay no tuition fees. 

Living expenses are the responsibility of the student. 

The School has no dormitories. Incoming students who request 
it are assisted in finding living accommodations. 

The auditorium, Curtis Hall, where Faculty, student, and guest 
recitals, School gatherings, and Commencement are held, is 
used also for rehearsals and organ practice. In general, lessons, 
classes, and rehearsals are scheduled for afternoons; mornings 
are devoted to practice. Designated practice studios are provided 
at the Institute. 

The library of 30,000 volumes includes among its more impor- 
tant sets the Bach Gesellschaft publications, the collected works 
of Beethoven, Schubert, and Schumann as published by Breit- 
kopf, and the complete works of Brahms, Chopin, Handel, 
Lassus, Mozart, Palestrina, Purcell, Schiitz, and Vittoria; many 
volumes of the Denkmaler deutscher Tonkunst, including the 
Tonkunst in Bayern, a number of volumes of the Denkmaler 
der Tonkunst in Oesterreich, and the works of Monteverdi. 
There are a number of rare manuscripts, first editions, and the 
famous Burrell collection of Wagneriana. The privilege of bor- 
rowing music and books is granted to all registered students. 
Students have the use of textbooks without charge. 

Instruments include string instruments of the Italian, French and 
English Schools, Steinway pianos, Lyon and Healy harps, orches- 
tral instruments. The organ in Curtis Hall is a five-manual 
with 98 ranks of pipes, built by Aeolian-Skinner. 



14 



ENTRANCE REQUIREMENTS 

Application for Audition or Examination 

Students are accepted only after an audition or the examination 
of original compositions submitted. The qualifications for audi- 
tion or examination are given on the following pages. 

The applicant is required to fill out an application form and to 
give in detail all requested information. The application form 
must be accompanied by an official birth certificate (photostat 
is acceptable), physician's certificate of health, and a recent 
small photograph of the applicant. An applicant enrolled as a 
student at another school of music or studying with a private 
teacher will be considered for an audition or examination only 
if the application form is accompanied by written permission 
from the school or teacher. 

Requests for the return by mail of personal property that has 
been submitted with the application form should be accompanied 
by the necessary postage. 

Auditions are scheduled at the convenience of the Faculty and 
requests for changes in appointments cannot be considered. 

School Year 1952-1953 

Persons wishing consideration for auditions and examinations 
to be held in April-May 1952 should request application forms 
(stating major subject), and complete and return them with 
supporting documents not later than February 1, 1952. 

All communications should be addressed to 
The Secretary of Admissions 
The Curtis Institute of Music 
Rittenhouse Square 
Philadelphia (3), Pennsylvania 



15 



ENTRANCE REQUIREMENTS 

Qualifications for Audition or Examination 

The qualifications for receiving an audition or examination are 
presented here in a general form, allowing the applicant latitude 
in the selection of works to be presented. While the choice of 
composition is important, the manner of performance carries far 
greater weight. 

The final decision as to the suitability of an applicant for ac- 
ceptance rests upon the evidence of talent shown rather than 
upon the degree of advancement already attained. Admission is 
limited to those whose inherent musical gift shows promise 
of development to a point of professional quality. 

Applicants in any subject may be asked to show the degree of 
their attainments in sight-reading. A supplementary knowledge 
of the piano, or other medium, and of the theory of music, 
is desirable. 

The auditors are not obliged to hear all that an applicant may 
have in readiness nor to comply with requests for criticism of 
applicants not accepted. 

Accompanists are provided. 



VOICE 

Applicants shall submit from memory four selections showing 
the character, quality, and personality of voice and singer, of 
which one at least should be in English. They should be chosen 
from the standard operatic and oratorio recitatives and arias; 
German Lieder; Italian songs of the Seventeenth and Eighteenth 
Centuries; French songs (either of the 'Bergerette' type or of 
the Nineteenth and Twentieth Centuries); English songs of any 
period which have artistic merit. 



16 



ENTRANCE REQUIREMENTS: 

Qualifications for Audition or Examination^ Continued 

Clear diction and accurate pronunciation in one foreign language 
will be considered of higher value than a casual and inaccurate 
use of several. 

Age of applicants: girl applicants should be between seventeen 
and twenty-two, men between nineteen and twenty-five. 

PIANO 

Applicants shall play from memory : 1) a prelude and fugue from 
The Well-Tempered Clavichord or a three-part invention of 
Bach; 2) a Mozart sonata (jo be chosen from Nos. 283, 309-10-11, 
330-31-32-33, 457, 570, 576 in the Kochel catalogue') or a Beethoven 
sonata, complete; 3) two selections — one slow and one brilliant 
— from the works of Chopin. 

Age of applicants : applicants should be under twenty-one. 

ORGAN 

Applicants shall play from memory: 1) a fugue or prelude and 
fugue or a principal movement from a sonata or symphony; 
2) a trio; 3) a scherzo; 4) a slow movement. 

Applicants shall also play the following at the piano : 1) a study; 
2) a nocturne or other slow movement. 

Age of applicants: applicants should be under twenty-one. 

HARP 

Applicants should possess a thorough knowledge of the funda- 
mental principles of contemporary harp playing. A knowledge 
of piano playing is desirable. Applicants shall submit from 
memory two transcriptions from the classics and two works from 
contemporary literature. 

Age of applicants: applicants should be under twenty-one. 



17 



ENTRANCE REQUIREMENTS I 

Qualifications for Audition or Examination, Continued 



VIOLIN 

Applicants under fourteen years of age shall play: 1) scales in 
three octaves and double stops; 2) Kreutzer or Rode etudes; 
3) a concerto of Mozart, Spohr, or Mendelssohn. 

Applicants over fourteen years of age shall play : 1) all scales in 
fluent tempo and double stops; 2) a Bach sonata for violin alone; 
3) etudes by Dont or Paganini; 4) a concerto of Mozart, Spohr, 
Beethoven, Brahms, Paganini, Mendelssohn, Vieuxtemps, 
Wieniawski, or Goldmark. 

Age of applicants: applicants should be under twenty-one. 

VIOLA 

Applicants shall play : 1) all major and minor scales and arpeggios ; 
2) the Kreutzer violin etudes; 3) the forty-one caprices of 
Campagnoli, Op. 22; 4) a concerto of Handel-Casadesus, Stamitz, 
or Mozart. 

Age of applicants: applicants should be under twenty-one. 

VIOLONCELLO 

Applicants shall play : 1) all major and minor scales and arpeggios ; 

2) an etude or a caprice by Franchomme or Piatti or Duport; 

3) a fast and a slow movement from a Bach suite; 4) a concerto 
from the standard repertoire or a sonata by Beethoven or Brahms 
or a modern composer. 

Age of applicants: applicants should be under twenty-three. 



18 



ENTRANCE REQUIREMENTS: 

Qualifications for Audition or Examination, Continued 

DOUBLE BASS 
Applicants shall possess a good ear, sense of rhythm, and the 
ability to read at sight . They shall play : 1) all the scales, intervals, 
and arpeggios; 2) one movement of a concerto or a sonata. 

Age of applicants: applicants should be under twenty-one. 

FLUTE, OBOE, CLARINET, BASSOON, HORN 
Applicants shall possess physical aptitude for the chosen instru- 
ment, a good ear, sense of rhythm, and the ability to read 
at sight. 

Age of applicants: applicants should be under twenty-one. 

TRUMPET, TROMBONE, TUBA 
Applicants shall possess physical aptitude for the chosen instru- 
ment, a good ear, sense of rhythm, and the ability to read 
at sight. 

Age of applicants: applicants should be under twenty-one. 

PERCUSSION, TYMPANI 
Applicants shall possess a good ear, sense of rhythm, the ability 
to read at sight, and show aptitude for the instruments. 

Age of applicants: applicants should be under twenty-one. 

COMPOSITION 

Applicants shall submit several original compositions. Orchestral 
compositions may be submitted, but are not required. 

Applicants should send their manuscripts by registered mail, 
presenting themselves in person only when so requested. The 
Institute cannot accept responsibility for the return of manu- 
scripts unless the necessary postage is enclosed. 



19 



CALENDAR 

1951-1952 



September 24 (Monday) ) t, ■■ c j 

■^ \ Registration or new students 

September 25 (Tuesday) j 



September 26 (Wednesday) 1 t. • • r i j j 

> Registration or old students 

September 27 (Thursday) j 



September 28 (Friday): First Term opens 



November 22 (Thursday) throuih \ ^. . . . ,y 

^ \ Thanksgiving Vacation 

November 25 (Sunday) j 



December 15 (Saturday) through \ Christmas Vacation 

January 6 (Sunday) f 



January 7 (Monday) : School re-opens 

April: Auditions and examinations are held for enrolment of new 
students for the School Year 1952-1953 



April 11 (Friday) through \ „ _, . 

^ •'^ * \ Easter Vacation 

April 16 (Wednesday) f 



May 9 (Friday): Last day of instruction 

May 10 (Saturday) : Commencement 

Recitals as scheduled 



20 



THE 

CURTIS 
INSTITUTE 

OF 

MUSIC 



PHILADELPHIA 



19 5 2 . 19 5 3 




THE 
CURTIS INSTITUTE OF MUSIC 




CATALOGUE 

1952-1953 



RITTENHOUSE SQUARE 
PHILADELPHIA 3 • PENNSYLVANIA 



COPYRIGHT 1952, BY 
THE CURTIS INSTITUTE OF MUSIC 




EFREM ZIMBALIST, Director 



THE CURTIS INSTITUTE OF MUSIC 

Efrem Zimbalist, Director 



THE CURTIS INSTITUTE OF MUSIC was founded in 1924 
by Mary Louise Curtis Bok 



To hand down through contemporary masters 
the great traditions of the past 

To teach students to build on this heritage 
for the future 



The School is operated under a Charter granted by the Common- 
wealth of Pennsylvania and is included in the list of "Colleges and 
Universities in Pennsylvania approved by the State Council of 
Education for the Granting of Degrees". 

The United States Government has duly approved The Curtis 
Institute of Music as an institution of learning for immigrant 
students, in accordance with the Immigration Act of 1924. 

Students are accepted under the conditions herein set forth, on the 
scholarship basis exclusively, and pay no tuition fees. 



THE CURTIS INSTITUTE OF MUSIC 



OFFICERS 

President 
Mary Curtis Zimbalist 

Vice-President 
Curtis Bok 

Secretary 
Cary W. Bok 

Treasurer and Assistant Secretary 
Jay H. Mattis 



BOARD OF DIRECTORS 



Mary Curtis Zimbalist 
Curtis Bok 
Cary W. Bok 
Efrem Zimbalist 



Helene Boericke Bok 
Edith Evans Braun 
George P. Orr 
Jay H. Mattis 



EXECUTIVE AND ADMINISTRATIVE STAFF 

Efrem Zimbalist Director 

Jay H. Mattis Business Manager 

Efrem Zimbalist, Jr Assistant to the Director 

Jane Fairfax Hill Registrar 

Helen Hoopes Secretary of Admissions 

Elizabeth R. Hartman Librarian 

Edith Cochran Secretary to the President 

Ethel Kingsley Nice Secretary to the Director 

Maud Louise Lytle Secretary to the Business Manager 



FACULTY 

Headings in CAPITALS designate major courses; headings in italics, supplementary courses. 



Richard Bonelli 



VOICE 



Eufemia Giannini Gregory 



Vocal Repertoire 

Leo Rosenek 

Vladimir Sokoloff 

Opera Department 

Herbert Graf, Director 

Elizabeth Westmoreland, Music Director 

PIANO 

Rudolf Serkin Isabelle Vengerova 

Mieczyslaw Horszowski 



Vladimir Sokoloff 
Eleanor Sokoloff 



Piano 



Martha Halbwachs Massena 
Freda Pastor 



ORGAN 
Alexander McCurdy 



HARP and Harp Ensemble 
Carlos Salzedo 



FACULTY — Continued 



Ivan Galamian 



Leonard Rose 



VIOLIN 

Efrem Zimbalist 



VIOLA and Chamber Music 
Karen Tuttle 

VIOLONCELLO 



Woodwind and String Ensembles 
Marcel Tabuteau 

Brass Ensemble 
Charles Gusikoff 

ORCHESTRA 
Alexander Hilsberg, Conductor 



Veda Reynolds 



Erling Bengtsson 



FLUTE 

William Kincaid 

CLARINET 

Anthony Gigliotti 

HORN 

Mason Jones 

TRUMPET 
Samuel Krauss 



OBOE 
Marcel Tabuteau 

BASSOON 
Sol Schoenbach 

DOUBLE BASS 
Roger Scott 

TROMBONE, TUBA 
Charles Gusikoff 



PERCUSSION 
David Grupp 



Vladimir Sokoloff 



ACCOMPANISTS 

Martha Halbwachs Massena 



FACULTY — Continued 

COMPOSITION and THEORY 

Gian-Carlo Menotti, Head of Department 

Constant Vauclain Edith Evans Braun 

Anne-Marie Soffray George Rochberg 



Eurhythmies 
Nadia Chilkovsky 



Languages and Diction 

Mary Q. Shumway, A.M., Ph.D.: German 

Louise Andre Tabuteau, B. es L., L. es L. : French 

Domenico Vittorini, A.M., D. in L.: Italian 

Eufemia Giannini Gregory: Italian Diction 



ELEMENTARY AND SECONDARY 
ACADEMIC TUTORING 

Eleanor Fitzpatrick, A.M. 



MINIMUM COURSE REQUIREMENTS 

(Entrance Requirements, pages 15-19) 

All students are on probation during their entire period of enrolment, 
and may be dropped at any time for failure to progress according 
to the standards of the Faculty. 

For the Diploma 

The Diploma is given at the completion of three or more years 
of study in any major course. The candidate must have main- 
tained a high standard of excellence during the entire period 
both in his major and in his supplementary courses. 

The prescribed minimum work to be covered in Theory and sup- 
plementary applied subjects is outlined on the following pages. 

For the Degree Bachelor of Music 
Prerequisite: Completion of 16 units of the required high school 
subjects as outlined by the Department of Public Instruction, 
Harrisburg, Pennsylvania. 

The degree is given at the completion of not less than four years 
of study in any major course, with a total of 120 Semester Hours, 
of which 60 are to be in Applied Music including the major, 
30 in Theory, and 30 in academic work. The candidate must have 
maintained a high standard of excellence during the entire period 
both in his major and in his supplementary courses. 

The prescribed minimum work to be covered in Theory and sup- 
plementary applied subjects is outlined on the following pages. 
Credit will be given for academic subjects of college grade taken, 
before acceptance or during the period of enrolment, at an 
accredited college or university. 

For the Degree Master of Music 
(Given only in Composition) 

Prerequisite: Completion of 120 Semester Hours in the required 
courses admitting to the Bachelor of Music degree in Composi- 
tion, according to the standards of The Curtis Institute of Music. 

The degree is given at the completion of not less than two years 
of graduate study in Composition, and such additional work as 
may be prescribed, with a total of 30 Semester Hours. 



10 



MINIMUM COURSE REQUIREMENTS, Continued 



The Thesis may consist of an extended original composition for 
full orchestra or for chorus and orchestra. 



Supplementary Theoretical Courses 
(Major courses in Capitals) 

All courses in Theory may be anticipated by examination. 

For the Diploma 

C Solfege* 

Voice ^ Harmony : 1 year 

( Elements of Music : 1 year 

Piano n 

Organ J / Solfege* 

Harp M Harmony and Counterpoint : 

Violin /J 2 years 

Viola I ( Elements of Music : 1 year 

Violoncello / 

Double Bass , 

Flute , 

Oboe 

Clarinet 

Bassoon \ ( Solfege* 

Horn f \ Harmony : 1 year 

Trumpet 

Trombone 

Tuba 

Percussion 

Composition See Note 2 

For the Degree Bachelor of Music 

Voice 

Piano 

Organ 

Harp 

Violin 

Viola 

Violoncello f / Solfege* 

Double Bass \\ Harmony and Counterpoint: 

Flute V 2 years 

Oboe / | Form and Analysis: 1 year 

Clarinet [ \ Elements of Music: 2 years 

Bassoon 

Horn 

Trumpet 

Trombone 

Tuba 

Percussion 

Composition See Note 2 

*The number of years varies according to requirements. 



11 



MINIMUM COURSE REQUIREMENTS, Continued 

Supplementary Applied Subjects 
(Major courses in Capitals) 

The following are required both in courses admitting to the 
Diploma and courses admitting to the Bachelor of Music degree, 
and are taken, except as indicated, throughout the entire period. 

Supplementary Piano may be anticipated by examination. 



Piano: 2 years 
Diction 

YQjj,g } Vocal Repertoire 

Languages 
Opera Class 
Eurhythmies 



Piano Chamber Music 



Organ Piano 



Piano: 2 years 

Harp ^ Harp Ensemble 

Orchestra 



{ 



Piano: 2 years 



Violin / Chamber Music 

String Ensemble 
Orchestra 



i Viola: 1 year 



^ ( Piano: 2 years 

yi°^^ M Chamber Music 

Violoncello X ^^^- Ensemble 

Double Ba88 ) / Qrchlstra 



Flute 

Oboe \ ( Piano: 2 years 

Clarinet >< Woodwind Ensemble 

Bassoon i ( Orchestra 

Horn 



12 



:!< 



MINIMUM COURSE REQUIREMENTS, Continued 



Trumpet i/d- -. 

Trombone (/ ?'^°%^ ^^^^ 

Tuba H o T Ensemble 

Percussion ^ (Orchestra 



|{ 



Composition Piano: 2 years 

Note 1. The Elements of Music course includes Acoustics, Theory of Harmony, Theory 
of Rhythm, Form, the Greek System, the Modal System, the Constitution of Polyphonic 
Forms, the Rise of Opera and Oratorio, the Flemish Schools, the Italian Schools, the 
German Schools. 

Note 2. The requirements in Composition are Elements of Music, Orchestration, and 
Dramatic Forms, and the courses are not considered supplementary but component 
parts of the major course. 

Note 3. The course in Dramatic Forms includes a brief history of dramatic music (opera, 
oratorio); methods of musical dramatic expression (librettos, staging, recitatives, etc.); 
the analysis of representative operatic works; experiments in the setting of dramatic texts. 

Note 4. Students receive credit toward graduation for public performance and perform- 
ance in Curtis Hall. Original compositions by students majoring in Composition, whether 
performed by themselves or by others, are credited toward graduation. Students are 
permitted to accept professional engagements, with the approval of the Director. 

Note 5. Attendance is required at all recitals given in Curtis Hall. 



13 



GENERAL INFORMATION 

Students are accepted on the Scholarship basis exclusively, and 
pay no tuition fees. 

Living expenses are the responsibility of the student. 

The School has no dormitories. Incoming students who request 
it are assisted in finding living accommodations. 

The auditorium, Curtis Hall, where Faculty, student, and guest 
recitals, School gatherings, and Commencement are held, is 
used also for rehearsals and organ practice. In general, lessons, 
classes, and rehearsals are scheduled for afternoons; mornings 
are devoted to practice. Designated practice studios are provided 
at the Institute. 

The library of 30,000 volumes includes among its more impor- 
tant sets the Bach Gesellschaft publications, the collected works 
of Beethoven, Schubert, and Schumann as published by Breit- 
kopf, and the complete works of Brahms, Chopin, Handel, 
Lassus, Mozart, Palestrina, Purcell, Schiitz, and Vittoria; many 
volumes of the Denkmaler deutscher Tonkunst, including the 
Tonkunst in Bayern, a number of volumes of the Denkmaler 
der Tonkunst in Oesterreich, and the works of Monteverdi. 
There are a number of rare manuscripts, first editions, and the 
famous Burrell collection of Wagneriana. The privilege of bor- 
rowing music and books is granted to all registered students. 
Students have the use of textbooks without charge. 

Instruments include string instruments of the Italian, French and 
English Schools, Steinway pianos, Lyon and Healy harps, orches- 
tral instruments. The organ in Curtis Hall is a five-manual 
with 98 ranks of pipes, built by Aeolian-Skinner. 



14 



ENTRANCE REQUIREMENTS 

Applkafion for Audition or Examination 

Students are accepted only after an audition or the examination 
of original compositions submitted. The qualifications for audi- 
tion or examination are given on the following pages. 

The applicant is required to fill out an application form and to 
give in detail all requested information. The application form 
must be accompanied by an official birth certificate (photostat 
is acceptable), physician's certificate of health, and a recent 
small photograph of the applicant. An applicant enrolled as a 
student at another school of music or studying with a private 
teacher will be considered for an audition or examination only 
if the application form is accompanied by written permission 
from the school or teacher. 

Requests for the return by mail of personal property that has 
been submitted with the application form should be accompanied 
by the necessary postage. 

Auditions are scheduled on dates set aside for each subject 
when faculty members are available and requests for changes 
in appointments cannot be considered. 

School Year 1953-1954 

Auditions and examinations will be held in April-May 1953. 
Everyone requesting auditions should send for application forms 
and state their major subjects. These application forms must 
be completed and returned with the necessary supporting 
documents not later than February 1, 1953. 

All communications should be addressed to 

The Secretary of Admissions 
The Curtis Institute of Music 
Rittenhouse Square 
Philadelphia (3), Pennsylvania 



15 



ENTRANCE REQUIREMENTS 

Qualifications for Audition or Examination 

The qualifications for receiving an audition or examination are 
presented here in a general form, allowing the applicant latitude 
in the selection of works to be presented. While the choice of 
composition is important, the manner of performance carries far 
greater weight. 

The final decision as to the suitability of an applicant for ac- 
ceptance rests upon the evidence of talent shown rather than 
upon the degree of advancement already attained. Admission is 
limited to those whose inherent musical gift shows promise 
of development to a point of professional quality. 

Applicants in any subject may be asked to show the degree of 
their attainments in sight-reading. A supplementary knowledge 
of the piano, or other medium, and of the theory of music, 
is desirable. 

The auditors are not obliged to hear all that an applicant may 
have in readiness nor to comply with requests for criticism of 
applicants not accepted. 

Accompanists are provided. 



VOICE 

Applicants shall submit from memory four selections showing 
the character, quality, and personality of voice and singer, of 
which one at least should be in English. They should be chosen 
from the standard operatic and oratorio recitatives and arias; 
German Lieder; Italian songs of the Seventeenth and Eighteenth 
Centuries; French songs (either of the 'Bergerette' type or of 
the Nineteenth and Twentieth Centuries); English songs of any 
period which have artistic merit. 



16 



ENTRANCE REQUIREMENTS: 

Qualifications for Audition or Examination, Continued 

Clear diction and accurate pronunciation in one foreign language 
will be considered of higher value than a casual and inaccurate 
use of several. 

Age of applicants: girl applicants should be between seventeen 
and twenty-two, men between nineteen and twenty-five. 

PIANO 

Applicants shall play from memory: 1) a prelude and fugue from 
The Well-Tempered Clavichord or a three-part invention of 
Bach; 2) a Mozart sonata (jo be chosen from Nos. 283, 309-10-11, 
330-31-32-33, 457, 570, 576 in the Kochel catalogue) or a Beethoven 
sonata, complete; 3) two selections — one slow and one brilliant 
— from the works of Chopin. 

Age of applicants: applicants should be under twenty-one. 

ORGAN 

Applicants shall play from memory: 1) a fugue or prelude and 
fugue or a principal movement from a sonata or symphony; 
2) a trio; 3) a scherzo; 4) a slow movement. 

Applicants shall also play the following at the piano : 1) a study; 
2) a nocturne or other slow movement. 

Age of applicants: applicants should be under twenty-one. 

HARP 

Applicants should possess a thorough knowledge of the funda- 
mental principles of contemporary harp playing. A knowledge 
of piano playing is desirable. Applicants shall submit from 
memory two transcriptions from the classics and two works from 
contemporary literature. 

Age of applicants: applicants should be under twenty-one. 



17 



ENTRANCE REQUIREMENTS: 

Qualifications for Audition or Examination, Continued 



VIOLIN 

Applicants under fourteen years of age shall play from mem- 
ory: 1) scales in three octaves and double stops; 2) Kreutzer or 
Rode etudes; 3) a concerto of Mozart, Spohr, or Mendelssohn, 

Applicants over fourteen years of age shall play from memory : 

1) all scales in fluent tempo and double stops; 2) a Bach sonata 
for violin alone; 3) etudes by Dont or Paganini; 4) a concerto 
of Mozart, Spohr, Beethoven, Brahms, Paganini, Mendelssohn, 
Vieuxtemps, Wieniawski, or Goldmark, 

Age of applicants: applicants should be under tw^enty-one. 

VIOLA 

Applicants shall play : 1) all major and minor scales and arpeggios ; 

2) the Kreutzer violin etudes; 3) the forty-one caprices of 
Campagnoli, Op. 22; 4) a concerto of Handel-Casadesus, Stamitz, 
or Mozart. 

Age of applicants: applicants should be under twenty-one. 

VIOLONCELLO 

Applicants shall play from memory: 1) all major and minor 
scales and arpeggios; 2) an etude or a caprice by Franchomme 
or Piatti or Duport; 3) a fast and a slow movement from a Bach 
suite; 4) a concerto from the standard repertoire or a sonata by 
Beethoven or Brahms or a modern composer. 

Age of applicants: applicants should be under twenty-three. 



18 



ENTRANCE REQUIREMENTS: 

Qualifications for Audition or Examinationy Continued 

DOUBLE BASS 

Applicants shall possess a good ear, sense of rhythm, and the 
ability to read at sight. They shall play : 1) all the scales, intervals, 
and arpeggios; 2) one movement of a concerto or a sonata. 

Age of applicants: applicants should be under twenty-one. 

FLUTE, OBOE, CLARINET, BASSOON, HORN 

Applicants shall possess physical aptitude for the chosen instru- 
ment, a good ear, sense of rhythm, and the ability to read 
at sight. 

Age of applicants: applicants should be under twenty-one. 

TRUMPET, TROMBONE, TUBA 

Applicants shall possess physical aptitude for the chosen instru- 
ment, a good ear, sense of rhythm, and the ability to read 
at sight. 

Age of applicants: applicants should be under twenty-one. 

PERCUSSION, TYMPANI 

Applicants shall possess a good ear, sense of rhythm, the ability 
to read at sight, and show aptitude for the instruments. 

Age of applicants: applicants should be under twenty-one. 

COMPOSITION 

Applicants shall submit several original compositions. Orchestral 
compositions may be submitted, but are not required. 

Applicants should send their manuscripts by registered mail, 
presenting themselves in person only when so requested. The 
Institute cannot accept responsibility for the return of manu- 
scripts unless the necessary postage is enclosed. 



19 



CALENDAR 
1952-1953 

September 22 (Monday) ) n • • /• j 

■' \ Registration or new students 

September 23 (Tuesday) j 

September 24 (Wednesday) ) „ . • r i j j 

^ y Registration or old students 

September 25 (Thursday) j 

September 26 (Friday): First Term opens 



November 27 (Thursday) through | Thanksgiving Vacation 

November 30 (Sunday) j 



December 13 (Saturday) through ) „, . tt • 

^ ' "^ ° \ Christmas Vacation 

January 4 (Sunday) \ 



January 5 (Monday): School re-opens 

April: Auditions and examinations are heldC/or lenrolment of new 
students for the School Year 1953-1954 



April 3 (Friday) through \ ^^^^^^ ^^c2.non 

April 8 (Wednesday) / 



May 8 (Friday): Last day of instruction 

May 9 (Saturday): Commencement 

Recitals as scheduled 



20 



THE 

CURTIS 
INSTITUTE 

OF 

MUSIC 



PHILADELPHIA 



19 5 3 • 19 5 4 




THE 
CURTIS INSTITUTE OF MUSIC 




CATALOGUE 

1953-1954 



RITTENHOUSE SQUARE 
PHILADELPHIA 3 • PENNSYLVANIA 



COPYRIGHT 1953, BY 
THE CURTIS INSTITUTE OF MUSIC 




EFREM ZIMBALIST, Director 



THE CURTIS INSTITUTE OF MUSIC 

Efrem Zimbalist, Director 



THE CURTIS INSTITUTE OF MUSIC was founded in 1924 
by Mary Louise Curtis Bok 



To hand down through contemporary masters 
the great traditions of the fast 

To teach students to build on this heritage 
for the future 



The School is operated under a Charter granted by the Common- 
wealth of Pennsylvania and is included in the list of "Colleges and 
Universities in Pennsylvania approved by the State Council of 
Education for the Granting of Degrees". 

The United States Government has duly approved The Curtis 
Institute of Music as an institution of learning for immigrant 
students, in accordance with the Immigration Act of 1924. 

Students are accepted under the conditions herein set forth, on the 
scholarship basis exclusively, and pay no tuition fees. 



THE CURTIS INSTITUTE OF MUSIC 



OFFICERS 

President 
Mary Curtis Zimbalist 

Vice-President 
Curtis Bok 

Secretary 
Cary W. Bok 

Treasurer and Assistant Secretary 
Jay H. Mattis 



BOARD OF DIRECTORS 



Mary Curtis Zimbalist 
Curtis Bok 
Cary W. Bok 
Efrem Zimbalist 



Helene Boericke Bok 
Edith Evans Braun 
George P. Orr 
Jay H. Mattis 



EXECUTIVE AND ADMINISTRATIVE STAFF 

Efrem Zimbalist Director 

Jay H. Mattis Business Manager 

Efrem Zimbalist, Jr Assistant to the Director 

Jane Fairfax Hill Registrar 

Helen Hoopes Secretary of Admissions 

Elizabeth R. Hartman Librarian 

Edith Cochran Secretary to the President 

Ethel Kingsley Nice Secretary to the Director 

Maud Louise Lytle Secretary to the Business Manager 



FACULTY 

Headings in CAPITALS designate major courses; headings in italics, supplementary courses. 



Richard Bonelli 



VOICE 



Eufemia Giannini Gregory 



Vocal Repertoire 

Leo Rosenek 

Vladimir Sokoloff 

Opera Department 

Herbert Graf, Director 

Elizabeth Westmoreland, Music Director 



Rudolf Serkin 



PIANO 



Mieczyslaw Horszowski 



Isabelle Vengerova 



Vladimir Sokoloff 
Eleanor Sokoloff 



Fiano 



Martha Halbwachs Massena 
Freda Pastor 



ORGAN 
Alexander McCurdy 



HARP and Harp Ensemble 
Carlos Salzedo 



FACULTY — Continued 



Efrem Zimbalist 
Toshiya Eto 



VIOLIN 



Ivan Galamian 
Veda Reynolds 



VIOLA 

Karen Tut tie 



Leonard Rose 



VIOLONCELLO 



Orlando Cole 



FLUTE 
William Kincaid 



OBOE 

Marcel Tabuteau 



CLARINET 

Anthony Gigliotti 



BASSOON 
Sol Schoenbach 



HORN 

Mason Jones 



TRUMPET 
Samuel Krauss 



TROMBONE, TUBA 
Charles Gusikoff 



DOUBLE BASS 
Roger Scott 



PERCUSSION 
Fred D. Hinger 



Orchestra 
William R. Smith, Conductor 



Woodwind and String Ensembles 
Marcel Tabuteau 



Chamber Music 
Karen Turtle 



Brass Ensemble 
Charles Gusikoff 



ACCOMPANISTS 



Vladimir Sokoloff 



Martha Halbwachs Massena 



FACULTY — Continued 

COMPOSITION and THEORY 

Gian-Carlo Menotti, Head of Department 

Constant Vauclain Edith Evans Braun 

Anne-Marie SofFray Stanley Hollier 

George Rochberg 



Eurhythmies 
Nadia Chilkovsky 



Languages and Diction 

Mary Q. Shumway, A.M., Ph.D.: German 

Louise Andre Tabuteau, B. es L., L. es L.: French 

Domenico Vittorini, A.M., D. in L. : Italian 

Eufemia Giannini Gregory: Italian Diction 



ELEMENTARY AND SECONDARY 
ACADEMIC TUTORING 

Eleanor Fitzpatrick, A.M. 



MINIMUM COURSE REQUIREMENTS 

(Entrance Requirements, pages 15-19) 

All students are on probation during their entire period of enrolment, 
and may be dropped at any time for failure to progress according 
to the standards of the Faculty. 

For the Diploma 

The Diploma is given at the completion of three or more years 
of study in any major course. The candidate must have main- 
tained a high standard of excellence during the entire period 
both in his major and in his supplementary courses. 

The prescribed minimum work to be covered in Theory and sup- 
plementary applied subjects is outlined on the following pages. 

For the Degree Bachelor of Music 
Prerequisite: Completion of 16 units of the required high school 
subjects as outlined by the Department of Public Instruction, 
Harrisburg, Pennsylvania. 

The degree is given at the completion of not less than four years 
of study in any major course, with a total of 120 Semester Hours, 
of which 60 are to be in Applied Music including the major, 
30 in Theory, and 30 in academic work. The candidate must have 
maintained a high standard of excellence during the entire period 
both in his major and in his supplementary courses. 

The prescribed minimum work to be covered in Theory and sup- 
plementary applied subjects is outlined on the following pages. 
Credit will be given for academic subjects of college grade taken, 
before acceptance or during the period of enrolment, at an 
accredited college or university. 

For the Degree Master of Music 
(Given only in Composition) 

Prerequisite: Completion of 120 Semester Hours in the required 
courses admitting to the Bachelor of Music degree in Composi- 
tion, according to the standards of The Curtis Institute of Music. 

The degree is given at the completion of not less than two years 
of graduate study in Composition, and such additional work as 
may be prescribed, with a total of 30 Semester Hours. 



10 



MINIMUM COURSE REQUIREMENTS, Continued 



The Thesis may consist of an extended original composition for 
full orchestra or for chorus and orchestra. 



Supplementary Theoretical Courses 
(Major courses in Capitals) 

All courses in Theory may be anticipated by examination. 

For the Diploma 

I Solfege and Harmony: 

Voice < 2 years 

( Elements of Music: 1 year 

Piano > 

Organ I i Solfcge* 

Harp \j Harmony and Counterpoint : 

Violin /I 2 years 

Viola I ' Elements of Music: 1 year 

Violoncello / 

Double Bass 

Flute 

Oboe 

Clarinet 

Bassoon I <■ Solfcge* 

Horn / I Harmony: 1 year 

Trumpet 

Trombone 

Tuba 

Percussion 

Composition See Note 2 

For the Degree Bachelor of Music 

Voice 

Piano 

Organ 

Harp 

Violin 

Viola 

Violoncello [ / Solfege* 

Double Bass \\ Harmony and Counterpoint : 

Flute V 2 years 

Oboe I \ Form and Analysis: 1 year 

Clarinet [ ^ Elements of Music: 2 years 

Bassoon 

Horn 

Trumpet 

Trombone 

Tuba 

Percussion 

Composition See Note 2 

*The number of years varies according to requirements. 



11 



MINIMUM COURSE REQUIREMENTS, Continued 

Supplementary Af -plied Subjects 
(Major courses in Capitals) 

The following are required both in courses admitting to the 
Diploma and courses admitting to the Bachelor of Music degree, 
and are taken, except as indicated, throughout the entire period. 

Supplementary Piano may be anticipated by examination. 



Piano: 2 years 
Diction 

YQj(.g ) Vocal Repertoire 

Languages 
Opera Class 
Eurhythmies 



Piano Chamber Music 



Organ Piano 



Piano: 2 years 

Harp I Harp Ensemble 

Orchestra 



/ Pi£ 
\ Ha 
i Or 



, Piano: 2 years 
i Viola: 1 year 

Violin / Chamber Music 

String Ensemble 
Orchestra 



( 



.J . ( Piano: 2 years 

,/°^'^ {) Chamber Music 

Violoncello W g^^, Ensemble 

Double Bass ) I Orchestra 



Flute 

Odoe I ( Piano: 2 years 

Clarinet > < Woodwind Ensemble 

Bassoon \ (. Orchestra 

Horn 



12 



% 



MINIMUM COURSE REQUIREMENTS, Continued 



Trumpet } ,„. . 

Trombone (/ ^^^"^^ ^^^^ 

Tuba \\ ^'^f Ensemble 

Percussion U Orchestra 

Composition Piano : 2 vears 



Note 1. The Elements of Music course includes Acoustics, Theory of Harmony, Theory 
of Rhythm, Form, the Greek System, the Modal System, the Constitution of Polyphonic 
Forms, the Rise of Opera and Oratorio, the Flemish Schools, the Italian Schools, the 
German Schools. 

Note 2. The requirements in Composition are Elements of Music, Orchestration, and 
Dramatic Forms, and the courses are not considered supplementary but component 
parts of the major course. 

Note 3. The course in Dramatic Forms includes a brief history of dramatic music (opera, 
oratorio); methods of musical dramatic expression (librettos, staging, recitatives, etc.); 
the analysis of representative operatic works; experiments in the setting of dramatic texts. 

Note 4. Students receive credit toward graduation for public performance and perform- 
ance in Curtis Hall. Original compositions by students majoring in Composition, whether 
performed by themselves or by others, are credited toward graduation. Students are 
permitted to accept professional engagements, with the approval of the Director. 

Note 5. Attendance is required at all recitals given in Curtis Hall. 



13 



GENERAL INFORMATION 

Students are accepted on the Scholarship basis exclusively, and 
pay no tuition fees. 

Living expenses are the responsibility of the student. 

The School has no dormitories. Incoming students who request 
it are assisted in finding living accommodations. 

The auditorium, Curtis Hall, where Faculty, student, and guest 
recitals, School gatherings, and Commencement are held, is 
used also for rehearsals and organ practice. In general, lessons, 
classes, and rehearsals are scheduled for afternoons; mornings 
are devoted to practice. Designated practice studios are provided 
at the Institute. 

The library of 30,000 volumes includes among its more impor- 
tant sets the Bach Gesellschaft publications, the collected works 
of Beethoven, Schubert, and Schumann as published by Breit- 
kopf, and the complete works of Brahms, Chopin, Handel, 
Lassus, Mozart, Palestrina, Purcell, Schiitz, and Vittoria; many 
volumes of the Denkmaler deutscher Tonkunst, including the 
Tonkunst in Bayern, a number of volumes of the Denkmaler 
der Tonkunst in Oesterreich, and the works of Monteverdi. 
There are a number of rare manuscripts, first editions, and the 
famous Burrell collection of Wagneriana. The privilege of bor- 
rowing music and books is granted to all registered students. 
Students have the use of textbooks without charge. 

Instruments include string instruments of the Italian, French and 
English Schools, Steinway pianos, Lyon and Healy harps, orches- 
tral instruments. The organ in Curtis Hall is a five-manual 
with 98 ranks of pipes, built by Aeolian-Skinner. 



14 



ENTRANCE REQUIREMENTS 

Application for Audition or Examination 

Students are accepted only after an audition or the examination 
of original compositions submitted. The qualifications for audi- 
tion or examination are given on the following pages. 

The applicant is required to fill out an application form and to 
give in detail all requested information. The application form 
must be accompanied by an official birth certificate (photostat 
is acceptable), physician's certificate of health, and a recent 
small photograph of the applicant. An applicant enrolled as a 
student at another school of music or studying vv^ith a private 
teacher will be considered for an audition or examination only 
if the application form is accompanied by written permission 
from the school or teacher. 

Requests for the return by mail of personal property that has 
been submitted with the application form should be accompanied 
by the necessary postage. 

Auditions are scheduled on dates set aside for each subject 
when faculty members are available and requests for changes 
in appointments cannot be considered. 

School Year 1954-1955 

Auditions and examinations will be held in April-May 1954. 
Everyone requesting auditions should send for application forms 
and state their major subjects. These application forms must 
be completed and returned with the necessary supporting 
documents not later than February 1, 1954. 

All communications should be addressed to 

The Secretary of Admissions 
The Curtis Institute of Music 
Rittenhouse Square 
Philadelphia (3), Pennsylvania 



15 



ENTRANCE REQUIREMENTS 

Qualifications for Audition or Examination 

The qualifications for receiving an audition or examination are 
presented here in a general form, allowing the applicant latitude 
in the selection of works to be presented. While the choice of 
composition is important, the manner of performance carries far 
greater weight. 

The final decision as to the suitability of an applicant for ac- 
ceptance rests upon the evidence of talent shown rather than 
upon the degree of advancement already attained. Admission is 
limited to those whose inherent musical gift shows promise 
of development to a point of professional quality. 

Applicants in any subject may be asked to show the degree of 
their attainments in sight-reading. A supplementary knowledge 
of the piano, or other medium, and of the theory of music, 
is desirable. 

The auditors are not obliged to hear all that an applicant may 
have in readiness nor to comply with requests for criticism of 
applicants not accepted. 

Accompanists are provided. 



VOICE 

Applicants shall submit from memory four selections showing 
the character, quality, and personality of voice and singer, of 
which one at least should be in English. They should be chosen 
from the standard operatic and oratorio recitatives and arias; 
German Lieder; Italian songs of the Seventeenth and Eighteenth 
Centuries; French songs (either of the 'Bergerette' type or of 
the Nineteenth and Twentieth Centuries); English songs of any 
period which have artistic merit. 



16 



ENTRANCE REQUIREMENTS: 

Qualifications for Audition or Examination, Continued 

Clear diction and accurate pronunciation in one foreign language 
will be considered of higher value than a casual and inaccurate 
use of several. 

Age of applicants: girl applicants should be between eighteen 
and twenty-two, men between nineteen and twenty-five. 

PIANO 

Applicants shall play from memory: 1) a prelude and fugue from 
The Well-Tempered Clavichord or a three-part invention of 
Bach; 2) a Mozart sonata (to he chosen from Nos. 283, 309-10-11, 
330-31-32-33, 457, 570, 576 in the Kochel catalogue) or a Beethoven 
sonata, complete; 3) two selections — one slow and one brilliant 
— from the works of Chopin. 

Age of applicants: applicants should be under twenty-one. 

ORGAN 

Applicants shall play from memory: 1) a fugue or prelude and 
fugue or a principal movement from a sonata or symphony; 
2) a trio; 3) a scherzo; 4) a slow movement. 

Applicants shall also play the following at the piano : 1) a study; 
2) a nocturne or other slow movement. 

Age of applicants: applicants should be under twenty-one. 

HARP 

Applicants should possess a thorough knowledge of the funda- 
mental principles of contemporary harp playing. A knowledge 
of piano playing is desirable. Applicants shall submit from 
memory two transcriptions from the classics and two works from 
contemporary literature. 

Age of applicants: applicants should be under twenty-one. 



17 



ENTRANCE REQUIREMENTS: 

Qualifications for Audition or Examination, Continued 



VIOLIN 

Applicants under fourteen years of age shall play from mem- 
ory: 1} scales in three octaves and double stops; 2) Kreutzer or 
Rode etudes; 3) a concerto of Mozart, Spohr, or Mendelssohn. 

Applicants over fourteen years of age shall play from memory : 

1) all scales in fluent tempo and double stops; 2) a Bach sonata 
for violin alone; 3) etudes by Dont or Paganini; 4) a concerto 
of Mozart, Spohr, Beethoven, Brahms, Paganini, Mendelssohn, 
Vieuxtemps, Wieniawski, or Goldmark. 

Age of applicants: applicants should be under twenty-one. 

VIOLA 

Applicants shall play : 1) all major and minor scales and arpeggios ; 

2) the Kreutzer violin etudes; 3) the forty-one caprices of 
Campagnoli, Op. 22; 4) a concerto of Handel-Casadesus, Stamitz, 
or Mozart. 

Age of applicants: applicants should be under twenty-one. 

VIOLONCELLO 

Applicants shall play from memory: 1) all major and minor 
scales and arpeggios; 2) an etude or a caprice by Franchomme 
or Piatti or Duport; 3) a fast and a slow movement from a Bach 
suite; 4) a concerto from the standard repertoire or a sonata by 
Beethoven or Brahms or a modern composer. 

Age of applicants: applicants should be under twenty-three. 



18 



ENTRANCE REQUIREMENTS: 

Qualifications for Audition or Examination^ Continued 

DOUBLE BASS 

Applicants shall possess a good ear, sense of rhythm, and the 
ability to read at sight . They shall play : 1) all the scales, intervals, 
and arpeggios; 2) one movement of a concerto or a sonata. 

Age of applicants: applicants should be under tw^enty-one. 

FLUTE, OBOE, CLARINET, BASSOON, HORN 
Applicants shall possess physical aptitude for the chosen instru- 
ment, a good ear, sense of rhythm, and the ability to read 
at sight. 

Age of applicants: applicants should be under twenty-one. 

TRUMPET, TROMBONE, TUBA 

Applicants shall possess physical aptitude for the chosen instru- 
ment, a good ear, sense of rhythm, and the ability to read 
at sight. 

Age of applicants: applicants should be under twenty-one. 

PERCUSSION, TYMPANI 

Applicants shall possess a good ear, sense of rhythm, the ability 
to read at sight, and show aptitude for the instruments. 

Age of applicants: applicants should be under twenty-one. 

COMPOSITION 

Applicants shall submit several original compositions. Orchestral 
compositions may be submitted, but are not required. 

Applicants should send their manuscripts by registered mail, 
presenting themselves in person only when so requested. The 
Institute cannot accept responsibility for the return of manu- 
scripts unless the necessary postage is enclosed. 



19 



CALENDAR 

1953-1954 



September 28 (Monday) ) n ■ ■ r i 

V Registration or new students 



September 29 (Tuesday) 



September 30 (Wednesday) ) ^i • • r 1 1 i 

V Registration of old students 

October 1 (Thursday) j 



October 2 (Friday): First Term opens 



November 26 (Thursday) through ) _, , . . ^^ 

V Ihanksgiving Vacation 

November 29 (Sunday) j 



December 12 (Saturday) through ") _, . tt • 

^ * V Christmas Vacation 

January 3 (Sunday) ) 



January 4 (Monday) : School re-opens 

April: Auditions and examinations are held for enrolment of new 
students for the School Year 1954-1955 



April 16 (Friday) through | ^^^^^^ ^^^^^.^^ 

April 21 (Wednesday) ) 



May 14 (Friday): Last day of instruction 

May 15 (Saturday): Commencement 

Recitals as scheduled 
•20- 



THE 

CURTIS 
INSTITUTE 

OF 

MUSIC 



PHILADELPHIA 



1954 . 1955 




THE 
CURTIS INSTITUTE OF MUSIC 




CATALOGUE 

1954-1955 



RITTENHOUSE SQUARE 
PHILADELPHIA 3 • PENNSYLVANIA 



COPYRIGHT 1954, BY 
THE CURTIS INSTITUTE OF MUSIC 




EFREM ZIMBALIST, Director 



THE CURTIS INSTITUTE OF MUSIC 

Efrem Zimbalist, Director 



THE CURTIS INSTITUTE OF MUSIC was founded in 1924 
by Mary Louise Curtis Bok 



To hand down through contemporary masters 
the great traditions of the -past 

To teach students to build on this heritage 
for the future 



The School is operated under a Charter granted by the Common- 
wealth of Pennsylvania and is included in the list of "Colleges and 
Universities in Pennsylvania approved by the State Council of 
Education for the Granting of Degrees". 

The United States Government has duly approved The Curtis 
Institute of Music as an institution of learning for immigrant 
students, in accordance with the Immigration Act of 1924. 

All students, residents of the United States or of a foreign 
country, are accepted under the conditions herein set forth, on 
the scholarship basis exclusively, and pay no tuition fees. 



THE CURTIS INSTITUTE OF MUSIC 



OFFICERS 

President 
Mary Curtis Zimbalist 

Vice-President 
Curtis Bok 

Secretary 
Gary W. Bok 

Treasurer and Assistant Secretary 
Jay H. Mattis 



BOARD OF DIRECTORS 

Mary Curtis Zimbalist Helene Boericke Bok 

Curtis Bok Edith Evans Braun 

Cary W. Bok George P. Orr 

Efrem Zimbalist Jay H. Mattis 



EXECUTIVE AND ADMINISTRATIVE STAFF 

Efrem Zimbalist Director 

Jay H. Mattis Business Manager 

Harold Henshaw Assistant Business Manager 

Jane Fairfax Hill Registrar 

Helen Hoopes Secretary of Admissions 

Jack L. Gotlobe Librarian 

Ethel Kingsley Nice Secretary to the Director 

Maud Louise Lytle Secretary to the Business Manager 



FACULTY 

Headings in CAPITALS designate major courses; headings in italics, supplementary courses. 



Richard Bonelli 



VOICE 



Eufemia Giannini Gregory 



Vocal Reperfoire 

Leo Rosenek 

Vladimir SokolofF 

Opera Department 

Herbert Graf, Director 

Elizabeth Westmoreland, Musk Director 



Rudolf Serkin 



PIANO 



Mieczyslaw Horszowski 



Isabelle Vengerova 



Vladimir Sokoloff 
Eleanor Sokoloff 



Piano 



Martha Halbwachs Massena 
Freda Pastor 



ORGAN 

Alexander McCurdy 



HARP and Harp Ensemble 
Carlos Salzedo 



FACULTY — Continued 



Efrem Zimbalist 
Toshiya Eto 



VIOLIN 



Ivan Galamian 
Veda Reynolds 



VIOLA 

Karen Tuttle 



Leonard Rose 



VIOLONCELLO 



Orlando Cole 



FLUTE 
William Kincaid 



OBOE 
John de Lancie 



CLARINET 
Anthony Gigliotti 



BASSOON 

Sol Schoenbach 



HORN 

Mason Jones 



TRUMPET 
Samuel Krauss 



TROMBONE, TUBA 
Charles Gusikoff 



DOUBLE BASS 
Roger Scott 



PERCUSSION 
Fred D. Hinger 



Orchestra 
William R. Smith, Conductor 



Woodwind Ensemble 
William Kincaid 



Chamber Music 
Karen Tuttle 



Brass Ensemble 
Charles GusikofF 



ACCOMPANISTS 



Vladimir Sokoloff 



Martha Halbwachs Mass^na 



FACULTY — Continued 

COMPOSITION and THEORY 

Gian-Carlo Menotti, Head of Department 

Constant Vauclain Anne-Marie Soffray 

Edith Evans Braun 



Eurhythmies 
Nadia Chilkovsky 



Languages and Diction 

Mary Q. Shumway, A.M., Ph.D.: German 
Blanche Mauclair, B. hs L. : French 
Domenico Vittorini, A.M., D. in L. : Italian 
Eufemia Giannini Gregory: Italian Diction 



ELEMENTARY AND SECONDARY 
ACADEMIC TUTORING 

Eleanor Fitzpatrick, A.M. 



MINIMUM COURSE REQUIREMENTS 

(Entrance Requirements, pages 15-19) 

All students are on probation during their entire period of enrolment, 
and may be dropped at any time for failure to progress according 
to the standards of the Faculty. 

For the Diploma 

The Diploma is given at the completion of three or more years 
of study in any major course. The candidate must have main- 
tained a high standard of excellence during the entire period 
both in his major and in his supplementary courses. 

The prescribed minimum work to be covered in Theory and sup- 
plementary applied subjects is outlined on the following pages. 

For the Degree Bachelor of Music 
Prerequisite: Completion of 16 units of the required high school 
subjects as outlined by the Department of Public Instruction, 
Harrisburg, Pennsylvania. 

The degree is given at the completion of not less than four years 
of study in any major course, with a total of 120 Semester Hours, 
of which 60 are to be in Applied Music including the major, 
30 in Theory, and 30 in academic work. The candidate must have 
maintained a high standard of excellence during the entire period 
both in his major and in his supplementary courses. 

The prescribed minimum work to be covered in Theory and sup- 
plementary applied subjects is outlined on the following pages. 
Credit will be given for academic subjects of college grade taken, 
before acceptance or during the period of enrolment, at an 
accredited college or university. 

For the Degree Master of Music 
(Given only in Composition) 

Prerequisite : Completion of 120 Semester Hours in the required 
courses admitting to the Bachelor of Music degree in Composi- 
tion, according to the standards of The Curtis Institute of Music. 

The degree is given at the completion of not less than two years 
of graduate study in Composition, and such additional work as 
may be prescribed, with a total of 30 Semester Hours. 



10 



MINIMUM COURSE REQUIREMENTS, Continued 



The Thesis may consist of an extended original composition for 
full orchestra or for chorus and orchestra. 



Supplementary Theoretical Courses 

(Major courses in Capitals) 

All courses in Theory may be anticipated by examination. 

For the Diploma 

/ Solfcge* 

y } Harmony and Counterpoint: 

°^'^^ \ 1 year 

V Elements of Music: 1 year 

Piano x 

Organ I i Solfcge* 

Harp M Harmony and Counterpoint: 

Violin /I 2 years 

Viola I ( Elements of Music: 1 year 

Violoncello / 

Double Bass 

Flute 

Oboe 

Clarinet r , r ip « 

T, S< Harmony and Counterpoint: 

Trumpet * ^ ■' 

Trombone 

Tuba 

Percussion 

Composition See Note 2 

For the Degree Bachelor of Music 

Voice 

Piano 

Organ 

Harp 

Violin 

Viola 

Violoncello I / Solfcge* 

Double Bass \\ Harmony and Counterpoint: 

Flute ^< 2 years 

Oboe / | Form and Analysis: 1 year 

Clarinet [ ^ Elements of Music: 2 years 

Bassoon 

Horn 

Trumpet 

Trombone 

Tuba 

Percussion 

Composition See Note 2 

*The number of years varies according to requirements. 



11 



MINIMUM COURSE REQUIREMENTS, Continued 

Su-pplementary Applied Subjects 
(Major courses in Capitals) 

The following are required both in courses admitting to the 
Diploma and courses admitting to the Bachelor of Music degree, 
and are taken, except as indicated, throughout the entire period. 

Supplementary Piano may be anticipated by examination. 



Piano : 2 years 
Diction 

Vocal Repertoire 
"oiCE ^ Languages 

Opera Class 
Eurhythmies 
Great Books: 1 year 



Piano | Chamber Music 

) Creat Books: 1 year 



Organ { Pi^°o . , 

) Great Books: 1 year 



/ Piano: 2 years 
Harp 2 ^^^P Ensemble 

\ Orchestra 
V Great Books: 1 year 



/ Piano: 2 years 
i Viola: 1 year 
Violin ; Chamber Music 

I Orchestra 

^ Great Books: 1 year 



Viola ^ i ^^^°°= ^ ^^^^ 

Violoncello.';;:: ::::::::::::::::::::: ::::u Chamber musk 

DoubleBass j) Orchestra 

^ V Great Books: 1 year 



Q \ / Piano: 2 years 

c^net::::::::::::::::::::::::::::::::::U woodwind Ensemble 

B ssoo 1 i Orchestra 

HoRN.^: ::::::::::::::::::::::::::::::::: :m ^^^^^^ Books: i year 



12 



MINIMUM COURSE REQUIREMENTS, Continued 



Trumpet \ { Piano : 2 years 

Trombone M Brass Ensemble 

Tuba O Orchestra 

Percussion ) \ Great Books : 1 year 

Composition \ Piano: 2 years 

I Great Books: 1 year 



Note 1. The Elements of Music course includes Acoustics, Theory of Harmony, Theory 
of Rhythm, Form, the Greek System, the Modal System, the Constitution of Polyphonic 
Forms, the Rise of Opera and Oratorio, the Flemish Schools, the Italian Schools, the 
German Schools. 

Note 2. The requirements in Composition are Elements of Music, Orchestration, and 
Dramatic Forms, and the courses are not considered supplementary but component 
parts of the major course. 

Note 3. The course in Dramatic Forms includes a brief history of dramatic music (opera, 
oratorio); methods of musical dramatic expression (librettos, staging, recitatives, etc.); 
the analysis of representative operatic works; experiments in the setting of dramatic texts. 

Note 4. Students receive credit toward graduation for public performance and perform- 
ance in Curtis Hall. Original compositions by students majoring in Composition, whether 
performed by themselves or by others, are credited toward graduation. Students are 
permitted to accept professional engagements, in Philadelphia and the vicinity only, 
with the approval of the Director. 

Note 5. Attendance is required at all recitals given in Curtis Hall. 



13 



GENERAL INFORMATION 

Students are accepted on the Scholarship basis exclusively, and 
pay no tuition fees. 

Living expenses are the responsibility of the student. 

The School has no dormitories. Incoming students who request 
it are assisted in finding living accommodations. 

The auditorium, Curtis Hall, where Faculty, student, and guest 
recitals, School gatherings, and Commencement are held, is 
used also for rehearsals and organ practice. In general, lessons, 
classes, and rehearsals are scheduled for afternoons; mornings 
are devoted to practice. Designated practice studios are provided 
at the Institute. 

The library of 30,000 volumes includes among its more impor- 
tant sets the Bach Gesellschaft publications, the collected works 
of Beethoven, Schubert, and Schumann as published by Breit- 
kopf, and the complete works of Brahms, Chopin, Handel, 
Lassus, Mozart, Palestrina, Purcell, Schiitz, and Vittoria; many 
volumes of the Denkmaler deutscher Tonkunst, including the 
Tonkunst in Bayern, a number of volumes of the Denkmaler 
der Tonkunst in Oesterreich, and the works of Monteverdi. 
There are a number of rare manuscripts, first editions, and the 
famous Burrell collection of Wagneriana. 

Students are expected to provide their own music for major 
subjects. Music for secondary piano, ensemble and orchestral 
classes is supplied from the school library. 

Instruments include string instruments of the Italian, French and 
English Schools, Steinway pianos, Lyon and Healy harps, orches- 
tral instruments. The organ in Curtis Hall is a five-manual 
with 98 ranks of pipes, built by Aeolian-Skinner. 



14 



ENTRANCE REQUIREMENTS 

Application for Audition or Examination 

Students are accepted only after an audition or the examination 
of original compositions submitted. The qualifications for audi- 
tion or examination are given on the following pages. 

The applicant is required to fill out an application form and to 
give in detail all requested information. The application form 
must be accompanied by an official birth certificate (photostat 
is acceptable), physician's certificate of health, and a recent 
small photograph of the applicant. An applicant enrolled as a 
student at another school of music or studying with a private 
teacher will be considered for an audition or examination only 
if the application form is accompanied by written permission 
from the school or teacher. 

Requests for the return by mail of personal property that has 
been submitted with the application form should be accompanied 
by the necessary postage. 

Auditions are scheduled on dates set aside for each subject 
when faculty members are available and requests for changes 
in appointments cannot be considered. 

School Year 1955-1956 

Auditions and examinations will be held in April-May 1955. 
Everyone requesting auditions should send for application forms 
and state their major subjects. These application forms must 
be completed and returned with the necessary supporting 
documents not later than February 1, 1955. 

All communications should be addressed to 

The Secretary of Admissions 
The Curtis Institute of Music 
Rittenhouse Square 
Philadelphia (3), Pennsylvania 



15 



ENTRANCE REQUIREMENTS 

Qualifications for Audition or Examination 

The qualifications for receiving an audition or examination are 
presented here in a general form, allowing the applicant latitude 
in the selection of works to be presented. While the choice of 
composition is important, the manner of performance carries far 
greater weight. 

The final decision as to the suitability of an applicant for ac- 
ceptance rests upon the evidence of talent shown rather than 
upon the degree of advancement already attained. Admission is 
limited to those whose inherent musical gift shows promise 
of development to a point of professional quality. 

Applicants in any subject may be asked to show the degree of 
their attainments in sight-reading. A supplementary knowledge 
of the piano, or other medium, and of the theory of music, 
is desirable. 

The auditors are not obliged to hear all that an applicant may 
have in readiness nor to comply with requests for criticism of 
applicants not accepted. 

Accompanists are provided. 



VOICE 

Applicants shall submit from memory four selections showing 
the character, quality, and personality of voice and singer, of 
which one at least should be in English. They should be chosen 
from the standard operatic and oratorio recitatives and arias; 
German Lieder; Italian songs of the Seventeenth and Eighteenth 
Centuries; French songs (either of the 'Bergerette' type or of 
the Nineteenth and Twentieth Centuries); English songs of any 
period which have artistic merit. 



16 



ENTRANCE REQUIREMENTS: 

Qualifications for Audition or Examination, Continued 

Clear diction and accurate pronunciation in one foreign language 
will be considered of higher value than a casual and inaccurate 
use of several. 

Age of applicants: girl applicants should be between eighteen 
and twenty-two, men between nineteen and twenty-five. 

PIANO 

Applicants shall play from memory : 1) a prelude and fugue from 
The Well-Tempered Clavichord or a three-part invention of 
Bach; 2) a Mozart sonata (_to be chosen from Nos. 283, 309-10-11, 
330-31-32-33, 457, 570, 576 in the Kochel catalogue) or a Beethoven 
sonata, complete; 3) two selections — one slow and one brilliant 
— from the works of Chopin. 

Age of applicants: applicants should be under twenty-one. 
(No piano auditions will be held for the season 1955-56.) 

ORGAN 

Applicants shall play from memory: 1) a fugue or prelude and 
fugue or a principal movement from a sonata or symphony; 
2) a trio; 3) a scherzo; 4) a slow movement. 

Applicants shall also play the following at the piano : 1) a study; 
2) a nocturne or other slow movement. 

Age of applicants: applicants should be under twenty-one. 

HARP 

Applicants should possess a thorough knowledge of the funda- 
mental principles of contemporary harp playing. A knowledge 
of piano playing is desirable. Applicants shall submit from 
memory two transcriptions from the classics and two works from 
contemporary literature. 

Age of applicants: applicants should be under twenty-one. 



17 



ENTRANCE REQUIREMENTS: 

Qualifications for Audition or Examination, Continued 



VIOLIN 

Applicants under fourteen years of age shall play from mem- 
ory: 1) scales in three octaves and double stops; 2) Kreutzer or 
Rode etudes; 3) a concerto of Mozart, Spohr, or Mendelssohn. 

Applicants over fourteen years of age shall play from memory: 

1) all scales in fluent tempo and double stops; 2) a Bach sonata 
for violin alone; 3) etudes by Dont or Paganini; 4) a concerto 
of Mozart, Spohr, Beethoven, Brahms, Paganini, Mendelssohn, 
Vieuxtemps, Wieniawski, or Goldmark. 

Age oj applicants: applicants should be under twenty-one. 

VIOLA 

Applicants shall play : 1) all major and minor scales and arpeggios ; 

2) the Kreutzer violin etudes; 3) the forty-one caprices of 
Campagnoli, Op. 22; 4) a concerto of Handel-Casadesus, Stamitz, 
or Mozart. 

Age of applicants: applicants should be under twenty-one. 

VIOLONCELLO 

Applicants shall play from memory: 1) all major and minor 
scales and arpeggios; 2) an etude or a caprice by Franchomme 
or Piatti or Duport; 3) a fast and a slow movement from a Bach 
suite; 4) a concerto from the standard repertoire or a sonata by 
Beethoven or Brahms or a modern composer. 

Age of applicants: applicants should be under twenty-three. 



18 



ENTRANCE REQUIREMENTS: 

Qualifications for Audition or Examination, Continued 

DOUBLE BASS 
Applicants shall possess a good ear, sense of rhythm, and the 
ability to read at sight. They shall play : 1) all the scales, intervals, 
and arpeggios; 2) one movement of a concerto or a sonata. 

Age of applicants: applicants should be under twenty-one. 

FLUTE, OBOE, CLARINET, BASSOON, HORN 
Applicants shall possess a good ear, sense of rhythm and tone, 
and the ability to read at sight. They shall demonstrate famil- 
iarity with all major and minor scales and arpeggios, be pre- 
pared to play one movement of a concerto or sonata, and be 
able to read an orchestral excerpt. 

Age of applicants: applicants should be under twenty-one. 

TRUMPET, TROMBONE, TUBA 
Applicants shall possess physical aptitude for the chosen instru- 
ment, a good ear, sense of rhythm, and the ability to read 
at sight. 

Age of applicants: applicants should be under twenty-one. 

PERCUSSION, TYMPANI 

Applicants shall possess a good ear, sense of rhythm, the ability 
to read at sight, and show aptitude for the instruments. 
Age of applicants: applicants should be under twenty-one. 

COMPOSITION 

Applicants shall submit several original compositions. Orchestral 
compositions may be submitted, but are not required. 

Applicants should send their manuscripts by registered mail, 
presenting themselves in person only when so requested. The 
Institute cannot accept responsibility for the return of manu- 
scripts unless the necessary postage is enclosed. 



19 



CALENDAR 
1954-1955 



September 27 (Monday) ) r. • • r i 

> Registration or new students 



September 28 (Tuesday 



September 29 (Wednesday) ) t. • • r i j i 

\ Registration or old students 

September 30 (Thursday) j 

October 1 (Friday): First Term opens 



November 25 (Thursday) throuzh ) _, , . . _^ 

° \ Ihanksgiving Vacation 

November 28 (Sunday) j 



December 18 (Saturday) throuzh ) ^i • xr • 

^ \ Christmas Vacation 

January 9 (Sunday) I 



January 10 (Monday): School re-opens 

April: Auditions and examinations are held for enrolment of new 
students for the School Year 1955-1956 

April 8 (Friday) throuih \ „ ^^ . 

^ ^ ^ * \ Easter Vacation 

April 13 (Wednesday) ) 

May 13 (Friday): Last day of instruction 

May 14 (Saturday): Commencement 

Recitals as scheduled 
• 20 • 



THE 

CURTIS 
INSTITUTE 

OF 

MUSIC 



PHILADELPHIA 



19 5 5 • 19 5 6 




THE 
CURTIS INSTITUTE OF MUSIC 




CATALOGUE 

1955-1956 



RITTENHOUSE SQUARE 
PHILADELPHIA 3 • PENNSYLVANIA 



COPYRIGHT 1955, BY 
THE CURTIS INSTITUTE OF MUSIC 




MARY CURTIS ZIMBALIST 
Founder and President 




EFREM ZIMBALIST, Director 



THE CURTIS INSTITUTE OF MUSIC 

Efrem Zimbalist, Director 



THE CURTIS INSTITUTE OF MUSIC was founded in 1924 

To hand down through contemporary masters 
the great traditions of the past 

To teach students to build on this heritage 
for the future 



The School is operated under a Charter granted by the Common- 
wealth of Pennsylvania and is included in the list of "Colleges and 
Universities in Pennsylvania approved by the State Council of 
Education for the Granting of Degrees". 

The United States Government has duly approved The Curtis 
Institute of Music as an institution of learning for immigrant 
students, in accordance with the Immigration Act of 1924. 

All students, residents of the United States or of a foreign 
country, are accepted under the conditions herein set forth, on 
the scholarship basis exclusively, and pay no tuition fees. 



THE CURTIS INSTITUTE OF MUSIC 

RITTENHOUSE SQUARE 
PHILADELPHIA 3 • PENNSYLVANIA 



OFFICERS 

President 
Mary Curtis Zimbalist 

Vice-President 
Curtis Bok 

Secretary 
Cary W. Bok 

Treasurer and Assistant Secretary 
Jay H. Mattis 



BOARD OF DIRECTORS 



Mary Curtis Zimbalist 
Curtis Bok 
Cary W. Bok 
Efrem Zimbalist 



Helene Boericke Bok 
Edith Evans Braun 
George P. Orr 
Jay H. Mattis 



THE FACULTY 

Headings ia CAPITALS designate major courses; headings in italics, supplementary courses. 



Martial Singher 



VOICE 



Eufemia Giannini Gregory 



Vocal Repertoire 

Leo Rosenek 

Vladimir SokolofF 

Opera Department 

Herbert Graf, Director 

Elizabeth Westmoreland, Music Director 



Rudolf Serkin 



PIANO 



Mieczyslaw Horszowski 



Isabelle Vcngerova 



Vladimir Sokoloff 
Eleanor Sokoloff 



Piano 



Martha Halbwachs Mass6na 
Freda Pastor 



ORGAN 
Alexander McCurdy 



HARP and Harp Ensemble 
Carlos Salzedo 



10 




FACULTY — Continued 



Efrcm Zimbalisr 
Toshiya Eto 



VIOLIN 



VIOLA 
Karen Turtle 



Ivan Galamian 
Veda Reynolds 



Leonard Rose 



VIOLONCELLO 



Orlando Cole 



FLUTE 
William Kincaid 



OBOE 
John de Lancie 



CLARINET 
Anthony Gigliotti 



BASSOON 
Sol Schoenbach 



HORN 
Mason Jones 



TRUMPET 
Samuel Krauss 



TROMBONE, TUBA DOUBLE BASS 
Charles Gusikoff Roger Scott 



PERCUSSION 

Fred D. Hinger 



Orchestra 
William R. Smith, Conductor 



Woodwind Ensemble 
William Kincaid 



Chamber Music 
Karen Turtle 



Brass Ensemble 
Charles Gusikoff 



ACCOMPANISTS 



Vladimir Sokoloff 



Martha Halbwachs Massena 



11 



FACULTY — Continued 

COMPOSITION and THEORY 

Bohuslav Martinu 
Constant Vauclain Anne-Marie Soffray 

Edith Evans Braun ' % ^ 



Eurhythmies 
Nadia Chilkovsky 



Languages and Diction 

Mary Q. Shumway, A.M., Ph.D.: German 
Blanche Mauclair, B. es L. : French 
Domenico Vittorini, A.M., D. in L.: Italian 
Eufemia Giannini Gregory: Italian Diction 



ELEMENTARY AND SECONDARY 
ACADEMIC TUTORING 

Eleanor Fitzpatrick, A.M. 

Sarah Jane Ealer, B.Sc. in Ed. Katharine V. Harley, A.B. 

Marguerite Gaujot, Brevet Superieur (Nancy, France) 

LIBRARY 

Jack L. Gotlobe, Librarian Gordon Mapes, Special Services Librarian 

• 12 • 



ENTRANCE REQUIREMENTS 

Amplication for Audition or Examination 

Students are accepted only after an audition or the examination 
of original compositions submitted. The qualifications for audi- 
tion or examination are given on the following pages. 

The applicant is required to fill out an application form and to 
give in detail all requested information. The application form 
must be accompanied by an official birth certificate (photostat 
is acceptable), physician's certificate of health, and a recent 
small photograph of the applicant. An applicant enrolled as a 
student at another school of music or studying w^ith a private 
teacher will be considered for an audition or examination only 
if the application form is accompanied by written permission 
from the school or teacher. 

Requests for the return by mail of personal property that has 
been submitted with the application form should be accompanied 
by the necessary postage. 

Auditions are scheduled on dates set aside for each subject 
when faculty members are available and requests for changes 
in appointments cannot be considered. 

School Year^wi^S^^^^^P^^^ 

Auditions and examinations will be held in April-May 1956. 
Everyone requesting auditions should send for application forms 
and state their major subjects. These application forms must 
be completed and returned with the necessary supporting 
documents not later than February 1, 1956. 

All communications should be addressed to 

The Secretary of Admissions 
The Curtis Institute of Music 
Rittenhouse Square 
Philadelphia 3, Pennsylvania 



13 



ENTRANCE REQUIREMENTS: 

Qualifications for Audition or Examination 



The qualifications for receiving an audition or examination are 
presented here in a general form, allowing the applicant latitude 
in the selection of works to be presented. While the choice of 
composition is important, the manner of performance carries far 
greater weight. 

The final decision as to the suitability of an applicant for ac- 
ceptance rests upon the evidence of talent shown rather than 
upon the degree of advancement already attained. Admission is 
limited to those whose inherent musical gift shows promise 
of development to a point of professional quality. 

Applicants in any subject may be asked to show the degree of 
their attainments in sight-reading. A supplementary knowledge 
of the piano, or other medium, and of the theory of music, 
is desirable. 

The auditors are not obliged to hear all that an applicant may 
have in readiness nor to comply with requests for criticism of 
applicants not accepted. 

Accompanists are provided. 



VOICE 

Applicants shall submit from memory four selections showing 
the character, quality, and personality of voice and singer, of 
which one at least should be in English. They should be chosen 
from the standard operatic and oratorio recitatives and arias; 
German Lieder; Italian songs of the Seventeenth and Eighteenth 
Centuries; French songs (either of the 'Bergerette' type or of 
the Nineteenth and Twentieth Centuries); English songs of any 
period which have artistic merit. 



14 



ENTRANCE REQUIREMENTS: 

Qualifications for Audition or Examination, Continued 

Clear diction and accurate pronunciation in one foreign language 
will be considered of higher value than a casual and inaccurate 
use of several. 

Age of applicants: girl applicants should be between eighteen 
and twenty-two, men between nineteen and twenty-five. 

PIANO 

Applicants shall play from memory: 1) a prelude and fugue from 
The Well-Tempered Clavichord or a three-part invention of 
Bach; 2) a Mozart sonata (jo be chosen from Nos. 283, 309-10-11, 
330-31-32-33, 457, 570, 576 in the Kochel catalogue) or a Beethoven 
sonata, complete; 3) two selections — one slow and one brilliant 
— from the works of Chopin. 

Age of applicants: applicants should be under twenty-one. 

ORGAN 

Applicants shall play from memory: 1) a fugue or prelude and 
fugue or a principal movement from a sonata or symphony; 
2) a trio; 3) a scherzo; 4) a slow movement. 

Applicants shall also play the following at the piano: 1) a study; 
2) a nocturne or other slow movement. 

Age of applicants: applicants should be under twenty-one. 

HARP 

Applicants should possess a thorough knowledge of the funda- 
mental principles of contemporary harp playing. A knowledge 
of piano playing is desirable. Applicants shall submit from 
memory two transcriptions from the classics and two works from 
contemporary literature. 

Age of applicants: applicants should be under twenty-one. 



15 



ENTRANCE REQUIREMENTS: 

Qualifications for Audition or Examination, Continued 



VIOLIN 



Applicants under fourteen years of age shall play from mem- 
ory: 1) scales in three octaves and double stops; 2) Kreutzer or 
Rode etudes; 3) a concerto of Mozart, Spohr, or Mendelssohn. 

Applicants over fourteen years of age shall play from memory: 
1) all scales in fluent tempo and double stops; 2) a Bach sonata 
for violin alone; 3) etudes by Dont or Paganini; 4) a concerto 
of Mozart, Spohr, Beethoven, Brahms, Paganini, Mendelssohn, 
Vieuxtemps, Wieniawski, or Goldmark. 

Age of applicants: applicants should be under twenty-one. 



VIOLA 

Applicants shall play : 1) all major and minor scales and arpeggios ; 
2) the Kreutzer violin etudes; 3) the forty-one caprices of 
Campagnoli, Op. 22; 4) a concerto of Handel-Casadesus, Stamitz, 
or Mozart. 

Age of applicants: applicants should be under twenty-one. 



VIOLONCELLO 

Applicants shall play from memory: 1) all major and minor 
scales and arpeggios; 2) an etude or a caprice by Franchomme 
or Piatti or Duport; 3) a fast and a slow movement from a Bach 
suite; 4) a concerto from the standard repertoire or a sonata by 
Beethoven or Brahms or a modern composer. 

Age of applicants: applicants should be under twenty-three. 



16 



ENTRANCE REQUIREMENTS: 

Qualifications for Audition or Examination, Continued 

DOUBLE BASS 
Applicants shall possess a good ear, sense of rhythm, and the 
ability to read at sight. They shall play : 1) all the scales, intervals, 
and arpeggios; 2) one movement of a concerto or a sonata. 

Age of applicants: applicants should be under twenty-one. 

FLUTE, OBOE, CLARINET, BASSOON, HORN 

Applicants shall possess a good ear, sense of rhythm and tone, 
and the ability to read at sight. They shall demonstrate famil- 
iarity with all major and minor scales and arpeggios, be pre- 
pared to play one movement of a concerto or sonata, and be 
able to read an orchestral excerpt. 

Age of applicants: applicants should be under twenty-one. 

TRUMPET, TROMBONE, TUBA 
Applicants shall possess physical aptitude for the chosen instru- 
ment, a good ear, sense of rhythm, and the ability to read 
at sight. 

Age of applicants: applicants should be under twenty-one. 

PERCUSSION, TYMPANI 
Applicants shall possess a good ear, sense of rhythm, the ability 
to read at sight, and show aptitude for the instruments. 

Age of applicants: applicants should be under twenty-one. 

COMPOSITION 
Applicants shall submit several original compositions. Orchestral 
compositions may be submitted, but are not required. 

Applicants should send their manuscripts by registered mail, 
presenting themselves in person only when so requested. The 
Institute cannot accept responsibility for the return of manu- 
scripts unless the necessary postage is enclosed 



17 



MINIMUM COURSE REQUIREMENTS 

(Entrance Requirements, pages 13-17) 

All students are on probation during their entire period of enrolment, 
and may be dropped at any time for failure to progress according 
to the standards of the Faculty. 

For the Diploma 

The Diploma is given at the completion of three or more years 
of study in any major course. The candidate must have main- 
tained a high standard of excellence during the entire period 
both in his major and in his supplementary courses. 

The prescribed minimum work to be covered in Theory and sup- 
plementary applied subjects is outlined on the following pages. 

For the Degree Bachelor of Music 
Prerequisite: Completion of 16 units of the required high school 
subjects as outlined by the Department of Public Instruction, 
Harrisburg, Pennsylvania. 

The degree is given at the completion of not less than four years 
of study in any major course, with a total of 120 Semester Hours, 
of which 60 are to be in Applied Music including the major, 
30 in Theory, and 30 in academic work. The candidate must have 
maintained a high standard of excellence during the entire period 
both in his major and in his supplementary courses. 

The prescribed minimum work to be covered in Theory and sup- 
plementary applied subjects is outlined on the following pages. 
Credit will be given for academic subjects of college grade taken, 
before acceptance or during the period of enrolment, at an 
accredited college or university. 

For the Degree Master of Music 
(Given only in Composition) 

Prerequisite: Completion of 120 Semester Hours in the required 
courses admitting to the Bachelor of Music degree in Composi- 
tion, according to the standards of The Curtis Institute of Music. 

The degree is given at the completion of not less than two years 
of graduate study in Composition, and such additional work as 
may be prescribed, with a total of 30 Semester Hours. 



18 



MINIMUM COURSE REQUIREMENTS, Continued 

The Thesis may consist of an extended original composition for 
full orchestra or for chorus and orchestra. 



Supplementary Theoretical Courses 
(Major courses in Capitals) 

All courses in Theory may be anticipated by examination. 

For the Diploma 

/ Solftge* 

) Harmony and Counterpoint: 

Voice ". < j y^^^ 

(. Elements of Music: 1 year 

Piano \ 

Organ / ( Solfcge* 

Harp ' J Harmony and Counterpoint: 

Violin l] 2 years 

Viola 1 ' Elements of Music: 1 year 

Violoncello ^ 

Double Bass 

Flute 

Oboe 

Clarinet l r Solfcge* 

Bassoon V J Harmony and Counterpoint : 

Ho^N I I lyear 

Trumpet * 

Trombone 

Tuba 

Percussion 

Composition 

For the Degree Bachelor of Music 

Voice 

Piano 

Organ 

Harp 

Violin 

Viola 

Violoncello [ / Solfcge* 

Double Bass \\ Harmony and Counterpoint: 

Flute )< 2 years 

Oboe / I Form and Analysis : 1 year 

Clarinet 1 '^ Elements of Music: 2 years 

Bassoon 

Horn 

Trumpet 

Trombone 

Tuba 

Percussion 

Composition 

*The number of years varies according to requirements. 



19 



MINIMUM COURSE REQUIREMENTS, Continued 

Supplemenfary Applied Subjects 

(Major courses in Capitals) 

The following are required both in courses admitting to the 
Diploma and courses admitting to the Bachelor of Music degree, 
and are taken, except as indicated, throughout the entire period. 

Supplementary Piano may be anticipated by examination. 



Piano: 1 or 2 years 

Diction 

Vocal Repertoire 

Voice ^ Languages 

Opera Class 
Eurhythmies 
Great Books: 1 year 



p j Chamber Music 

] Great Books : 1 year 



Organ | P'^"°- 1 °^ ^ f ^" 

) Great Books: 1 year 



/ Piano: 1 or 2 years 

Harp J Harp Ensemble 

J Orchestra 

V Great Books: 1 year 



/ Piano: 1 or 2 years 
I Viola: 1 year 
Violin ; Chamber Music 

I Orchestra 

^ Great Books: 1 year 



y . / Piano: 1 or 2 years 

,r I J Chamber Music 

Violoncello W Orchestra 

Double Bass J I r^ ^ t> i i 

^ V Great Books: 1 vear 



TLUTE \ , n- , 

p. j / Piano: 1 year 

^ (i Woodwind Ensemble 

Clarinet >< ^ , . 

„ /J Orchestra 

jj^ J ( Great Books : 1 year 



20 



MINIMUM COURSE REQUIREMENTS, Continued 



Trumpet "j /" Piano : 1 year 

Trombone f J Brass Ensemble 

Tuba ?"S Orchestra 

Percussion ) \ Great Books : 1 year 

Composition \ P^^^o^ ^ years 

\ Great Books: 1 year 



Note 1. The Elements of Music course includes Acoustics, Theory of Harmony, Theory 
of Rhythm, Form, the Greek System, the Modal System, the Constitution of Polyphonic 
Forms, the Rise of Opera and Oratorio, the Flemish Schools, the Italian Schools, the 
German Schools. 

Note 2. Students receive credit toward graduation for public performance and perform- 
ance in Curtis Hall. Original compositions by students majoring in Composition, whether 
performed by themselves or by others, are credited toward graduation. Students are 
permitted to accept professional engagements, in Philadelphia and the vicinity only, 
with the approval of the Director. 

Note 3. Attendance is required at all recitals given in Curtis Hall. 



GENERAL INFORMATION 

Students are accepted on the Scholarship basis exclusively, and 
pay no tuition fees. 

Living expenses are the responsibility of the student. 

The School has no dormitories. Incoming students who request 
it are assisted in finding living accommodations. 

The auditorium, Curtis Hall, w^here Faculty, student, and guest 
recitals, School gatherings, and Commencement are held, is 
used also for rehearsals and organ practice. In general, lessons, 
classes, and rehearsals are scheduled for afternoons; mornings 
are devoted to practice. Designated practice studios are provided 
at the Institute. 



21 



GENERAL INFORMATION, Continued 

The library of 30,000 volumes includes among its more impor- 
tant sets the Bach Gesellschaft publications, the collected works 
of Beethoven, Schubert, and Schumann as published by Breit- 
kopf, and the complete works of Brahms, Chopin, Handel, 
Lassus, Mozart, Palestrina, Purcell, Schiitz, and Vittoria; many 
volumes of the Denkmaler deutscher Tonkunst, including the 
Tonkunst in Bayern, a number of volumes of the Denkmaler 
der Tonkunst in Oesterreich, and the works of Monteverdi. 
There are a number of rare manuscripts, first editions, and the 
famous Burrell collection of Wagneriana. 

Students are expected to provide their own music for major 
subjects. Music for secondary piano, ensemble and orchestra] 
classes is supplied from the school library. 

Instruments include string instruments of the Italian, French and 
English Schools, Steinway pianos, Lyon and Healy harps, orches- 
tral instruments. The organ in Curtis Hall is a five-manual 
with 98 ranks of pipes, built by Aeolian-Skinner. 



EXECUTIVE AND ADMINISTRATIVE STAFF 

Efrem Zimbalist Director 

Jay H. Mattis Business Manager 

Harold Henshaw Assistant Business Manager 

Jane Fairfax Hill Registrar 

Helen Hoopes Secretary of Admissions 

Ethel Kingsley Nice Secretary to the Director 

Maud Louise Lytle Secretary to the Business Manager 



11 



CALENDAR 
1955-1956 



September 26 (Monday) ) _, . . ^ , 

> Registration of new students 

September 27 (Tuesday) j 



September 28 (Wednesday) ) r. • • r , i i 

V Registration of old students 

September 29 (Thursday) j 



September 30 (Friday) : First Term opens 



November 24 (Thursday) through ) _, , . . ^^ 

\ ihanksgiving Vacation 

November 27 (Sunday) ) 



December 17 (Saturday) throuzh ) „, . xr • 

^ \ Christmas Vacation 

January 8 (Sunday) ( 



January 9 (Monday): School re-opens 

March 30 (Good Friday) Holiday 

April: Auditions and examinations are held for enrolment of new 
students for the School Year 1956-1957 

May 11 (Friday): Last day of instruction 

May 12 (Saturday): Commencement 

Recitals as scheduled 

• 23 • 




MAIN ENTRANCE 
THE CURTIS INSTITUTE OF MUSIC 



24 



THE 

CURTIS 
INSTITUTE 

OF 

MUSIC 



PHILADELPHIA 



19 5 6 • 19 5 7 




THE 
CURTIS INSTITUTE OF MUSIC 




CATALOGUE 

1956-1957 



RITTENHOUSE SQUARE 
PHILADELPHIA 3 • PENNSYLVANIA 



COPYRIGHT 1956, BY 
THE CURTIS INSTITUTE OF MUSIC 




MARY CURTIS ZIMBALIST 
Founder and Presidtnt 




EFREM ZIMBALIST, Director 



THE CURTIS INSTITUTE OF MUSIC 

Efrem Zimbalist, Director 



THE CURTIS INSTITUTE OF MUSIC was founded in 1924 

To hand down through contem-porary masters 
the great traditions of the past 

To teach students to build on this heritage 
for the future 



The School is operated under a Charter granted by the Common- 
wealth of Pennsylvania and is included in the list of Colleges "and 
Universities in Pennsylvania approved by the State Council of 
Education for the Granting of Degrees". 

The United States Government has duly approved The Curtis 
Institute of Music as an institution of learning for immigrant 
students, in accordance with the Immigration Act of 1924. 

All students, residents of the United States or of a foreign 
country, are accepted under the conditions herein set forth, on 
the scholarship basis exclusively, and pay no tuition fees. 



THE CURTIS INSTITUTE OF MUSIC 

RITTENHOUSE SQUARE 
PHILADELPHIA 3 . PENNSYLVANIA 



OFFICERS 

President 
Mary Curtis Zimbalist 

Vice-President 
Curtis Bok 

Secretary 
Cary W. Bok 

Treasurer and Assistant Secretary 
Jay H. Mattis 



BOARD OF DIRECTORS 



Mary Curtis Zimbalist 
Curtis Bok 
Cary W. Bok 
Efrem Zimbalist 



Helene Boericke Bok 
Edith Evans Braun 
George P. Orr 
Jay H. Mattis 



THE FACULTY 

Headings in CAPITALS designate major courses; headings in italics, supplementary courses. 



Martial Singher 



VOICE 



Eufemia Giannini Gregory 



Vocal Repertoire 

Leo Rosenek 
Vladimir Sokoloff 

Opera Department 

Herbert Graf, Director 

Elizabeth Westmoreland, Music Director 



Rudolf Serkin 



PIANO 



Olga Stroumillo 



Mieczyslaw Horszowski 



Vladimir Sokoloff 
Eleanor Sokoloff 



Piano 



Martha Halbwachs Mass6na 
Freda Pastor 



ORGAN 

Alexander McCurdy 

HARP and Harp Ensemble 
Carlos Salzedo 



10 



FACULTY — Continued 



Efrcm Zimbalisr 
Toshiya Eto 



VIOLIN 



VIOLA 

Max Aronoff 



Ivan Galamian 
Veda Reynolds 



Leonard Rose 



VIOLONCELLO 



Orlando Cole 



FLUTE 
William Kincaid 



OBOE 
John de Lancie 



CLARINET 
Anthony Gigliotti 



BASSOON 

Sol Schoenbach 



HORN 
Mason Jones 



TRUMPET 
Samuel Krauss 



TROMBONE, TUBA DOUBLE BASS 
Charles GusikofF Roger Scott 



PERCUSSION 
Fred D. Hinger 



String Ensemble 
Toshiya Eto 



Woodwind Ensemble 
William Kincaid 



Orchestra 
William R. Smith, Conductor 



Chamber Music 
Jascha Brodsky 



Brass Ensemble 
Charles GusikofF 



ACCOMPANISTS 
Vladimir Sokoloff Martha Halbwachs Massena 



11 



FACULTY — Continued 

COMPOSITION and THEORY 

Vittorio Giannini 
Constant Vaudain Anne-Marie Soffray 

Edith Evans Braun 



Eurhythmies 
Nadia Chilkovsky 



"Languages and Diction 

Mary Q. Shumway, A.M., Ph.D.: German 
Blanche Mauclair, B. es L.: French 
Domenico Vittorini, A.M., D. in L.: Italian 
Eufemia Giannini Gregory: Italian Diction 



ELEMENTARY AND SECONDARY 
ACADEMIC TUTORING 

Eleanor Fitzpatrick, A.M. 

Sarah Jane Ealer, B.Sc. in Ed. Marion A. Corwin, A.B. 

Marguerite Pechin, A.M. 

LIBRARY 
Jack L. Gotlobe, Librarian Gordon Mapes, Special Services Librarian 

• 12 . 



ENTRANCE REQUIREMENTS 

Application for Audition or Examination 

Students are accepted only after an audition or the examination 
of original compositions submitted. The qualifications for audi- 
tion or examination are given on the following pages. 

The applicant is required to fill out an application form and to 
give in detail all requested information. The application form 
must be accompanied by an official birth certificate (photostat 
is acceptable), physician's certificate of health, and a recent 
small photograph of the applicant. An applicant enrolled as a 
student at another school of music or studying with a private 
teacher will be considered for an audition or examination only 
if the application form is accompanied by written permission 
from the school or teacher. 

Requests for the return by mail of personal property that has 
been submitted with the application form should be accompanied 
by the necessary postage. 

Auditions are scheduled on dates set aside for each subject 
when faculty members are available and requests for changes 
in appointments cannot be considered. 

School Year 1957-1958 

Auditions and examinations will be held in April-May 1957. 
Everyone requesting auditions should send for application forms 
and state their major subjects. These application forms must 
be completed and returned with the necessary supporting 
documents not later than February 1, 1957 . 

All communications should be addressed to 

The Secretary of Admissions 
The Curtis Institute of Music 
Rittenhouse Square 
Philadelphia 3, Pennsylvania 



13 



ENTRANCE REQUIREMENTS: 

Qualifications for Audition or Examination 



The qualifications for receiving an audition or examination are 
presented here in a general form, allowing the applicant latitude 
in the selection of works to be presented. While the choice of 
composition is important, the manner of performance carries far 
greater weight. 

The final decision as to the suitability of an applicant for ac- 
ceptance rests upon the evidence of talent shown rather than 
upon the degree of advancement already attained. Admission is 
limited to those whose inherent musical gift shows promise 
of development to a point of professional quality. 

Applicants in any subject may be asked to show the degree of 
their attainments in sight-reading. A supplementary knowledge 
of the piano, or other medium, and of the theory of music, 
is desirable. 

The auditors are not obliged to hear all that an applicant may 
have in readiness nor to comply with requests for criticism of 
applicants not accepted. 

Accompanists are provided. 



VOICE 

Applicants shall submit from memory four selections showing 
the character, quality, and personality of voice and singer, of 
which one at least should be in English. They should be chosen 
from the standard operatic and oratorio recitatives and arias; 
German Lieder; Italian songs of the Seventeenth and Eighteenth 
Centuries; French songs (either of the 'Bergerette' type or of 
the Nineteenth and Twentieth Centuries); English songs of any 
period which have artistic merit. 



14 



ENTRANCE REQUIREMENTS : 

Qualifications for Audition or Examination^ Continued 

Clear diction and accurate pronunciation in one foreign language 
will be considered of higher value than a casual and inaccurate 
use of several. 

Age of applicants: girl applicants should be between eighteen 
and twenty-two, men between nineteen and twenty-five. 

PIANO 

Applicants shall play from memory: 1) a prelude and fugue from 
The Well-Tempered Clavichord or a three-part invention of 
Bach; 2) a Mozart sonata Qo be chosen from Nos. 283, 309-10-11, 
330-31-32-33, 457, 570, 576 in the Kochel catalogue^ or a Beethoven 
sonata, complete; 3) two selections — one slow and one brilliant 
— from the works of Chopin. 

Age of applicants: applicants should be under twenty-one. 

ORGAN 

Applicants shall play from memory: 1) a fugue or prelude and 
fugue or a principal movement from a sonata or symphony; 
2) a trio; 3) a scherzo; 4) a slow movement. 

Applicants shall also play the following at the piano : 1) a study; 
2) a nocturne or other slow movement. 

Age of applicants: applicants should be under twenty-one. 

HARP 

Applicants should possess a thorough knowledge of the funda- 
mental principles of contemporary harp playing. A knowledge 
of piano playing is desirable. Applicants shall submit from 
memory two transcriptions from the classics and two works from 
contemporary literature. 

Age of applicants: applicants should be under twenty-one. 



15 



ENTRANCE REQUIREMENTS: 

Qualifications for Audition or Examination^ Continued 



VIOLIN 

Applicants under fourteen years of age shall play from mem- 
ory : 1) scales in three octaves and double stops; 2) Kreutzer or 
Rode etudes; 3) a concerto of Mozart, Spohr, or Mendelssohn, 

Applicants over fourteen years of age shall play from memory: 
1) all scales in fluent tempo and double stops; 2) a Bach sonata 
for violin alone; 3) etudes by Dont or Paganini; 4) a concerto 
of Mozart, Spohr, Beethoven, Brahms, Paganini, Mendelssohn, 
Vieuxtemps, Wieniawski, or Goldmark. 

Age of applicants: applicants should be under twenty-one. 



VIOLA 

Applicants shall play : 1) all major and minor scales and arpeggios ; 
2) the Kreutzer violin etudes; 3) the forty-one caprices of 
Campagnoli, Op. 22; 4) a concerto of Handel-Casadesus, Stamitz, 
or Mozart. 

Age of applicants: applicants should be under twenty-one. 

VIOLONCELLO 

Applicants shall play from memory: 1) all major and minor 
scales and arpeggios; 2) an etude or a caprice by Franchomme 
or Piatti or Duport; 3) a fast and a slow movement from a Bach 
suite; 4) a concerto from the standard repertoire or a sonata by 
Beethoven or Brahms or a modern composer. 

Age of applicants: applicants should be under twenty-one. 



16 



ENTRANCE REQUIREMENTS: 

Qualificafions for Audition or Examination, Continued 

DOUBLE BASS 
Applicants shall possess a good ear, sense of rhythm, and the 
ability to read at sight. They shall play : 1) all the scales, intervals, 
and arpeggios; 2) one movement of a concerto or a sonata. 

Age of applicants: applicants should be under twenty-one. 

FLUTE, OBOE, CLARINET, BASSOON, HORN 
Applicants shall possess a good ear, sense of rhythm and tone, 
and the ability to read at sight. They shall demonstrate famil- 
iarity with all major and minor scales and arpeggios, be pre- 
pared to play one movement of a concerto or sonata, and be 
able to read an orchestral excerpt. 

Age of applicants: applicants should be under twenty-one. 

TRUMPET, TROMBONE, TUBA 
Applicants shall possess physical aptitude for the chosen instru- 
ment, a good ear, sense of rhythm, and the ability to read 
at sight. 

Age of applicants: applicants should be under twenty-one. 

PERCUSSION, TYMPANI 
Applicants shall possess a good ear, sense of rhythm, the ability 
to read at sight, and show aptitude for the instruments. 

Age of applicants: applicants should be under twenty-one. 

COMPOSITION 

Applicants shall submit several original compositions. Orchestral 
compositions may be submitted, but are not required. 

Applicants should send their manuscripts by registered mail, 
presenting themselves in person only when so requested. The 
Institute cannot accept responsibility for the return of manu- 
scripts unless the necessary postage is enclosed. 



17 



MINIMUM COURSE REQUIREMENTS 

(Entrance Requirements, pages 13-17) 

All students are on probation during their entire period of enrolment, 
and may be dropped at any time for failure to progress according 
to the standards of the Faculty. 

For the Diploma 

The Diploma is given at the completion of three or more years 
of study in any major course. The candidate must have main- 
tained a high standard of excellence during the entire period 
both in his major and in his supplementary courses. 

The prescribed minimum work to be covered in Theory and sup- 
plementary applied subjects is outlined on the following pages. 

For the Degree Bachelor of Music 
Prerequisite: Completion of 16 units of the required high school 
subjects as outlined by the Department of Public Instruction, 
Harrisburg, Pennsylvania. 

The degree is given at the completion of not less than four years 
of study in any major course, with a total of 120 Semester Hours, 
of which 60 are to be in Applied Music including the major, 
30 in Theory, and 30 in academic work. The candidate must have 
maintained a high standard of excellence during the entire period 
both in his major and in his supplementary courses. 

The prescribed minimum work to be covered in Theory and sup- 
plementary applied subjects is outlined on the following pages. 
Credit will be given for academic subjects of college grade taken, 
before acceptance or during the period of enrolment, at an 
accredited college or university. 

For the Degree Master of Music 
(Given only in Composition) 

Prerequisite : Completion of 120 Semester Hours in the required 
courses admitting to the Bachelor of Music degree in Composi- 
tion, according to the standards of The Curtis Institute of Music. 

The degree is given at the completion of not less than two years 
of graduate study in Composition, and such additional work as 
may be prescribed, with a total of 30 Semester Hours. 



18 



MINIMUM COURSE REQUIREMENTS, Continued 



The Thesis may consist of an extended original composition for 
full orchestra or for chorus and orchestra. 

Supplementary Theoretical Courses 
(Major courses in Capitals) 



All courses in Theory may be anticipated by examination. 

For the Diploma 

{Solfege* 
Harmony and Counterpoint: 
1 year 
Elements of Music: 1 year 

Piano > 

Organ 11 Solfege* 

Harp ' J Harmony and Counterpoint : 

Violin /j 2 years 

Viola I ' Elements of Music: 1 year 

Violoncello / 

Double Bass 

Flute 

Oboe 

5^^«^^^'' ( / Solfege* 

°^^°°^ \} Harmony and Counterpoint: 

""■^^ (\ lyear 

1 RUMPET ' ^ ^ 

Trombone 

Tuba 

Percussion 

Composition 

For the Degree Bachelor of Music 

Voice 

Piano 

Organ 

Harp 

Violin 

Viola 

Violoncello | / Solfege* 

Double Bass \ I Harmony and Counterpoint: 

Flute )< 2 years 

Oboe / i Form and Analysis: 1 year 

Clarinet [ ^ Elements of Music: 2 years 

Bassoon 

Horn 

Trumpet 

Trombone 

Tuba 

Percussion 

Composition 

*The number of years varies according to requirements. 



19 



MINIMUM COURSE REQUIREMENTS, Continued 

Supplementary Applied Subjects 

(Major courses in Capitals) 

The following are required both in courses admitting to the 
Diploma and courses admitting to the Bachelor of Music degree, 
and are taken, except as indicated, throughout the entire period. 

Supplementary Piano may be anticipated by examination. 



Piano: 1 or 2 years 

Diction 

Vocal Repertoire 

Voice ^ Languages 

Opera Class 
Eurhythmies 
Great Books: 1 year 



Piano \ Chamber Music 

[^ Cireat Books: 1 year 



Organ \ Piano: 1 or 2 years 

[ Great Books: 1 year 



{Piano: 1 or 2 years 
Harp Ensemble 
Orchestra 
Great Books: 1 year 



/ Piano: 1 or 2 years 
I Viola: 1 year 
Violin ; Chamber Music 

I Orchestra 

V Great Books: 1 year 



Viola "i i ^'^"°- ^ °^ ^ ^^^""^ 

vioLONCELLoV.'.'.'::::::::::::::::::::::::::U oSt'a'^""' 

Double Bass 1 I r- t, ^ -, 

' \ Great Books: 1 year 



Flute \ , „. , 

Q 1 / Piano: 1 year 

^ \\ Woodwind Ensemble 

Clarinet >/ ^ , 

D i\ Orchestra 

IT I ( Great Books : 1 year 

Horn /^ -' 



20 



MINIMUM COURSE REQUIREMENTS, Continued 



Trumpet \ ( Piano : 1 year 

Trombone M Brass Ensemble 

Tuba O Orchestra 

Percussion ) \ Great Books : 1 year 

Composition \ ?^°°-i yf ", 

\ (jreat Books: 1 year 



Note 1. The Elements of Music course includes Acoustics, Theory of Harmony, Theory 
of Rhythm, Form, the Greek System, the Modal System, the Constitution of Polyphonic 
Forms, the Rise of Opera and Oratorio, the Flemish Schools, the Italian Schools, the 
German Schools. 

Note 2. Students receive credit toward graduation for public performance and perform- 
ance in Curtis Hall. Original compositions by students majoring in Composition, whether 
performed by themselves or by others, are credited toward graduation. Students are 
permitted to accept professional engagements, in Philadelphia and the vicinity only, 
with the approval of the Director. 

Note 3- Attendance is required at all recitals given in Curtis Hall. 



GENERAL INFORMATION 

Students are accepted on the Scholarship basis exclusively, and 
pay no tuition fees. 

Living expenses are the responsibility of the student. 

The School has no dormitories. 

The auditorium, Curtis Hall, where Faculty, student, and guest 
recitals. School gatherings, and Commencement are held, is 
used also for rehearsals and organ practice. In general, lessons, 
classes, and rehearsals are scheduled for afternoons; mornings 
are devoted to practice. Designated practice studios are provided 
at the Institute. 



21 



GENERAL INFORMATION, Continued 

The library of 30,000 volumes includes among its more impor- 
tant sets the Bach Gesellschaft publications, the collected works 
of Beethoven, Schubert, and Schumann as published by Breit- 
kopf, and the complete works of Brahms, Chopin, Handel, 
Lassus, Mozart, Palestrina, Purcell, Schiitz, and Vittoria; many 
volumes of the Denkmaler deutscher Tonkunst, including the 
Tonkunst in Bayern, a number of volumes of the Denkmaler 
der Tonkunst in Oesterreich, and the works of Monteverdi. 
There are a number of rare manuscripts, first editions, and the 
famous Burrell collection of Wagneriana. 

Students are expected to provide their own music for major 
subjects. Music for secondary piano, ensemble and orchestral 
classes is supplied from the school library. 

Instruments include string instruments of the Italian, French and 
English Schools, Steinway pianos, Lyon and Healy harps, orches- 
tral instruments. The organ in Curtis Hall is a five-manual 
with 98 ranks of pipes, built by Aeolian-Skinner. 



EXECUTIVE AND ADMINISTRATIVE STAFF 

Efrem Zimbalist Director 

Jay H. Mattis Business Manager 

Harold Henshaw Assistant Business Manager 

Jane Fairfax Hill Registrar 

Helen Hoopes Secretary of Admissions 

Ethel Kingsley Nice Secretary to the Director 

Maud Louise Lytle Secretary to the Business Manager 



11 



CALENDAR 
1956-1957 



September 24 (Monday) ) „ . . ^ , 

^ V Registration of new students 

September 25 (Tuesday) j 



September 26 (Wednesday) ) r. • • r , i i 

V Registration of old students 

September 27 (Thursday) j 



September 28 (Friday): First Term opens 



November 22 (Thursday) through ) _, , . . ,^ 

V Ihanksgiving Vacation 

November 25 (Sunday) | 



December 15 (Saturday) through \ „, . ,^ . 

* y Christmas Vacation 

January 6 (Sunday) j 



January 7 (Monday): School re-opens 



April 19 (Friday) through \ „ ^^ . 

^ ^ * \ Easter Vacation 

April 24 (Wednesday) j 



April: Auditions and examinations are held for enrolment of new 
students for the School Year 1957-1958 

May 10 (Friday): Last day of instruction 

May 11 (Saturday): Commencement 

Recitals as scheduled 
•23 • 




MAIN ENTRANCE 
THE CURTIS INSTITUTE OF MUSIC 



24